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The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path. Pressed on violet vinyl!

Just one word to say: Essential!

Few debut singles have made such an impact, or left such a mark, as the Zombies’ 1964 She’s Not There. Hard to believe that the group had only been together a year when they came to record this timeless classic. Long after its release, many fans believe the Zombies’ album recorded at Abbey Road worthy of comparison to Sgt. Pepper… Released in April 1968, Odessey & Oracle was largely ignored on its release – though today original copies sell for £500. Odessey & Oracle is widely hailed as one of the key albums of the late 60s - and was ranked No.80 in the Rolling Stone poll for the Greatest Albums Of All Time.

Still shrink wrapped but opened.
Record is slightly warped but still enjoyable.

Still shrink wrapped but opened.
Cover with a beginning seam split at the upper edge.
Record is close to VG+.
Includes original inserts.

Just one word to say: Essential!

Produced by Giles Martin for this year's universally heralded 'Sgt. Pepper' Anniversary Edition releases, the album's new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles' father, George Martin. Praised by fans and music critics around the world, The Beatles' 'Sgt. Pepper' Anniversary Edition is 2017's most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

Japanese pressing, no Obi.

Japanese pressing without OBI!

Writing on back cover, close to VG+

Japanese pressing with OBI! Red vinyl!

The Beatles’ annual holiday tradition of recording jolly Christmas messages for fan club members was an important part of the band’s relationship with their most ardent supporters, affectionately referred to by them as “Beatle People.” Spanning 1963 to 1969, The Beatles’ holiday recordings were originally pressed on flexi discs and mailed to fan club members each December. Never released beyond the fan club until now, The Beatles’ seven holiday messages have been newly pressed on a rainbow of seven-inch colored vinyl singles for The Christmas Records box set. The limited edition collection presents each vinyl single with its original flexi disc sleeve artwork, accompanied by a 16-page booklet with recording notes and reproductions of the fan club’s National Newsletters, which were mailed to members with the holiday flexi discs.

Just one word to say: Essential!

Heavenly, crystalline psychedelic sounds, in our favored stereo mix! Jazzy, acoustic guitars and stacked Association-like harmonies showcase Tiffany Shade’s gorgeous originals and a rendition of Love’s “Softly To Me.” Pressed on lavender vinyl!

After a chance meeting in a record store, this Cleveland band got their start on Upbeat!, a local teen dance show similar to American Bandstand. Though their album was cut in two days over the course of 2 eight hour sessions, their arrangements shine through what was a scattered recording session. “We really worked hard in the studio even though we didn’t have enough time to do all the things we wanted to do with music,” bassist Robb Murphy remembers.

“We were pretty excited. We just had no experience with that sort of thing. We had heard things but never had any experience. We were really babes in the woods. It was a terrific experience looking back on it. It was really a hell of a lot of fun, we loved the idea of being able to overdub even though we didn’t get to do too much of that, it was still fun. That was pretty high tech in those days, being able to lay down a couple of tracks with your voice.” guitarist Mike Barnes recalls.

Similar to the Bosstown sound (Orpheus, Ultimate Spinach), Tiffany Shade lean towards harmony-driven vocals that combine their clever pop sensibilities with a versatile showcase of keys, organ, and scintillescent guitars. After their album’s release in ‘68, they had the opportunity to open for Big Brother & Holding Co., but because of poor sales (and like many Mainstream artists) the band didn’t last and went their separate ways in ‘69.

Just one word to say: Essential!

Just one word to say: Essential!

Just one word to say: Essential!

The 12-track Colored Vinyl LP format opens with Brunetta’s prized dancefloor-filler ‘Baluba Shake’ and closes with ‘Pà Diglielo A Mà’, a dramatic ballad by big-voiced Nada. The prolific Mina - queen bee of Italy’s female singers - gets two tracks: folk rock nugget ‘No’ and ‘Se Telefonando’, a sophisto-pop epic courtesy of maestro Ennio Morricone.

Other highlights include the sitar-embellished ‘Il Mio Posto Qual’È’ by Ornella Vanoni, a convincing cover of ‘Baby Please Don’t Go’ by beat girl Caterina Caselli, the pounding ‘Il Geghegè’ by petite dynamo Rita Pavone and breathy-voiced actress Catherine Spaak’s bossa-imbued ‘La Notte È Fatta Per Rubare’.

Just one word to say: Essential!

Just one word to say: Essential!

This pop art combo hailing from Leatherhead, England were known for their outrageous live concert performances and were 'removed' from a tour with The Who in Germany in 1967 when they 'out-Who'd The Who'. Adding fuel to an already high-octane fire they issued a single that same year "Desdemona", written by Marc Bolan, which was banned by the BBC because of the controversial lyric, "Lift up your skirt and fly." Across the pond their American record label delayed the release of their album, Orgasm for four years from its recording date due to objections from Daughters of the American Revolution (yeah, really). John's Children were out and about being a nuisance for less than two years but in that time, they released six singles and one album, but predictably none troubled the Top 30 pop charts. It wasn't until decades later that they were acknowledged for the impact they had on the music scene by some of the more 'hip' and 'cool' types and those failed to chart singles are now worth a considerable number English pounds to serious collectors - Sir Timothy Trott. o Limited Pressing 750 copies on White Vinyl with flip back sleeve o All tracks remastered in 2020 for vinyl. o Features many tracks with a young Marc Bolan on Guitar & Vocals o Lead Singer Andy Ellison will be issuing his Autobiography in 2021 and this release is part of a series of records to tie in with this book. o Some of johns Children's original singles command huge prices on the collector's market o Reviews expected in Record Collector, shindig, Vive le rock.

In that enticing, enthralling school of 1960s “girls with guitars”, Goldie & the Gingerbreads are top of the class. Self-contained and accomplished as instrumentalists, with an eminently soulful vocal prowess, the Gingerbreads remain true pioneers of women in rock’n’roll, and with a fascinating history to boot.

Born in the discotheques of Gotham, Goldie & the Gingerbreads were a popular club act with a handful of recordings under their belt when an admiring Animals caught them on a NYC visit in late 1964. “Imported” into the UK, the group scored a hit with ‘Can’t You Hear My Heartbeat’ and went on to tour with the Rolling Stones, Kinks and others, as well as maintaining a high visibility in the UK on their own. They made several more worthy if unsuccessful discs with producer Shel Talmy before splitting in 1967.

“Thinking About The Good Times” is the first-ever Goldie & the Gingerbreads collection, and it’s a fine testament to their undoubted abilities. Gathering together their sessions for Scepter, Decca and Atlantic, the versatility of the group is quite apparent on tracks that range from chunky beat and R&B (‘Look For Me Baby’, ‘Think About The Good Times’) through dramatic soul balladry (‘That’s Why I Love You’, ‘Little Boy’) to classic girl group sounds (‘Sailor Boy’, ‘Something Beautiful’).

Drill hole. Mono pressing.

“You can’t beat the classics” and in the Northern Soul world, no label is more renowned than Mirwood. The Sheppards ‘Stubborn Heart’ has been played since the early days of the scene but is still a guaranteed floor-filler.

Its flip ‘How Do You Like It’ has also picked up many spins in more recent years. As is our habit, to distinguish from the originals, we have changed the label colour - this time we’ve gone for a fetching purple and gold.

It was standard practice in the 1960s for British beat groups to pepper their repertoires with American R&B songs. Formed by five music-loving schools from Blackpool, the Missfits were no exception. Although they group released no records during their time together, for two brief years they were the toast of Blackpool clubland. They played at the same veues as local bands such as the Rockin’ Vickers, including some gigs at the famous Oasis Club in Manchester and at the short-lived Blackpool branch of the Twisted Wheel.

In February 1964, they won a recording test in a talent competition and travelled to London that summer to commit some of their favourite songs to tape. The tape reel was soon forgotten and thought lost but Janet had thankfully kept it safe, enabling the appearance of the four tracks on this 60s-style vinyl EP. Drummer Janet Baily provides lead vocals on their version of John Lee Hooker’s ‘Dimples’, and bass player Pauline Moran sang lead on Bo Diddley’s ‘You Can’t Judge A Book By The Cover’, Chuck Berry’s ‘I’m Talking About You’ and Ray Charles’ ‘What’d I Say’, with guitarists Andrea Hine, Carola Daish and Liz Hall joining in on backing vocals.

Definitive reissue of Nancy’s debut album Includes the bonus tracks, “The City Never Sleeps At Night” and the previously unreleased “For Some”. Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin. Vinyl pressed at RTI Q&A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea. Never–before–seen photos from Nancy’s personal archive Beautifully packaged and expanded gatefold LP featuring a 20–page booklet.

“Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra

The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”

Cover with tear on the opening

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!
For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!
We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!
But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl”, “In My Room”, “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.
Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in 'old school' Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!
"Pet Sounds" is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.
Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice", "God Only Knows", "Caroline No", and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me", "Don't Talk", "I Know There's an Answer", and "I Just Wasn't Made for These Times". It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).
VH-1 named "Pet Sounds" as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Recording: in mono

"The events of May ’68 are seen as a turning point in France’s social history - pictures of the barricades are still potent images. Lines were drawn politically, culturally, socially, and pop music was not exempt.

“Paris In The Spring” is a collection of the new music, put together by Saint Etienne’s Bob Stanley and Pete Wiggs, that emerged from France between 1968 and the mid-70s, an extraordinary blend of several previously independent strains – French chanson and yé-yé, American jazz and funk, British chamber pop – shot through with the era’s underlying mixture of optimism, uncertainty and darkness. This is the first collection of its kind, released on the 50th anniversary of the Paris uprising.

Serge Gainsbourg – a jazz pianist with a chanson past and a pop present – was in a position to play a key role in soundtracking France in flux over the next five years. His “Histoire de Melody Nelson”, with its heavily atmospheric arrangements by Jean-Claude Vannier, was the acme of this new, unsettling French sound. “Paris In The Spring” includes other equally dazzling Vannier arrangements (for Léonie) and Gainsbourg compositions (for Jane Birkin and Mireille Darc).

Prior to 1968, 60s French pop had been dominated by yé-yé, the country’s unique brand of upbeat pop, a world of primary colours, mini-jupes and discothèques (a French invention, after all). Its stars either faded fast after May ’68 or adapted to the new era: Jacques Dutronc (‘Le Métaphore’) and France Gall (‘Chanson Pour Que Tu M’aimes un Peu’) discovered a moody side they had previously kept hidden, while Françoise Hardy released the Brazilian-influenced, after-hours classic “La Question”, from which we have picked ‘Viens’.

New bands like Triangle emerged, influenced by Soft Machine and Gong who became regulars on the Paris club scene. French library music from Janko Nilovic and film soundtracks (François De Roubaix, Karl-Heinz Schäfer) reflected the era’s edginess. All are represented on “Paris In The Spring”, making it a continental cousin to Stanley and Wiggs’s hugely popular 2017 Ace compilation “English Weather”..
"

The release comes on 180g vinyl.

close to NM. 2020 reissue.

Record Store Day 2021 Release.
Limitation: 1500 copies.

This exclusive vinyl release is taken from the recently released Deluxe Edition of The Selecter’s‘Too Much Pressure’ debut album.This previously unreleased concert was part of the original 2Tone Tour and has been newly mixed from the original tapes.This version is pressed on clear vinyl.

The Beach Boys are one of the most critically acclaimed and commercially successful bands of all time, selling over 100 million records worldwide. Touring their 1980 release ‘ Keepin ’ the Summer Alive’, the band was in top shape, playing a long list of classics with new material sprinkled in. And boy oh boy, do they have a load of hits: ‘Wouldn't It Be Nice’, ‘ Surfin ' U.S.A.’, ‘Good Vibrations’, ‘God Only Knows’, are not even half of the hits on this record.

Violet vinyl edition. Still sealed with hype sticker and OBI.

Violet vinyl Limited edition. 2022 reissue.

This reissue was remastered in 2015.

“‘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)

From a basement in New Jersey, Tommy Falcone remade himself into a DIY Phil Spector. From 1962 to 1970, he founded and ran Cleopatra Records, discovered and mentored young Garden State talent, wrote songs and produced wild studio effects, and quit his day job to promote it all himself. Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie & the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable—garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner—a kaleidoscope of sound in search of the ever-elusive hit record.

Japanese pressing without obi | Faint foxing inside gatefold otherwise VG+, no seam splits, tears ...

Japanese pressing, no Obi.

Definitive reissue of Nancy’s debut album Includes the bonus tracks, “The City Never Sleeps At Night” and the previously unreleased “For Some”. Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin. Vinyl pressed at RTI. Q&A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea. CD housed in a digipak and featuring a 28-page booklet

“Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra

The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”

Cover close to VG+

Spread over four sides of two 33rpm 12-inch albums, this is a love letter to the 7-inch 45rpm single. Deluxe packaging includes a heavy-duty gatefold jacket and two fully illustrated inner bags containing the 180g orange vinyl discs. Album cover photo: Riot On Sunset Strip 1966 by Julian Wasser.

A tidal wave of Minny-beat surf and garage from all incarnations of the carnivorous Vaqueros! Like Twin City neapolitan ice cream, surf instros, Linda Anderson vocal surf-rock cuts, and John Grizzard's grizzly garage cuts add three splendid flavors all in one sonic carton!

Red vinyl. Japanese pressing.

2012 reissue. Still sealed with hype sticker.

2012 reissue on 180gr vinyl. Still sealed with hype sticker.