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The first color pressing of this title. We’re talkin’ Tex-mex Rock ‘N’ Roll! In this show from January 21, 1981, Doug Sahm (aka Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR Douglas Quintet was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

Lost in time yet always in season, here"s a blast of that ol" perennial, the punk rock, representative of the swiftly changing times around Bailey"s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in "82-"83, then broke up, leaving these songs to be released....maybe never?Though they didn"t release any records during their three years of existence, it"d be wrong to call Skam "never-was" - in addition to these recordings, there"s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O"Connell High, class of "83 or so.The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents" basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers. It wasn"t until they"d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.The Skam recordings from "82 have an undeniably Clash-like countenance that sets them definitively apart from the "First Four" of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the "90s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions. But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. But the rediscovered Skam tapes make for an incredible add...

RSD Limited Run / Regional Focus, Limitation: 200

Fifteen years after releasing two exceptional postpunk-meets-shoegaze-meets-dream pop albums on Caroline Records, New York-based outfit Springhouse (Mitch Friedland, Larry Heinemann, Jack Rabid) reconvened to record a third album, From Now to OK, co-released on CD with Independent Project Records in 2008.
Now appearing for the very first time on vinyl, the record captures the three-piece exploring a more acoustic, folk rock-indebted sound: still showing their trademark flair for dreamy melodic textures, the ever-Anglophile Springhouse can be heard embracing the late ‘60s influence of Nick Drake and The Beatles.
This newly-expanded edition of From Now to OK comes with a bonus CD of previously unreleased demos and live recordings. Preserved in a beautiful package from master designer Bruce Licher, this custom-cut metallic ink jacket, with super-limited transparent Coke Bottle Green vinyl (200 copies for RSD Black Friday), is sure to be a collector's highlight.

Except for a very limited vinyl on demand series, this Steve Wynn solo album has never been available on LP before.Beneath still going strong with THE DREAM SYNDICATE, Steve Wynn has relased more than a dozen proper solo records since the early 90s.Steve Wynn went from the lower reaches of the Los Angeles underground music scene to major critical acclaim practically overnight with the release of the Dream Syndicate's debut album, The Days of Wine and Roses, in 1982. Being part of the Paisley Underground (the neo-'60s Southern California scene that included next to Dream Syndicate also The Bangles, Green on Red, Rain Parade) proved to be the first act in a long and fascinating career in which Wynn matured into one of the canniest songwriters in rock, penning smart, flinty lyrics that told perceptive tales of human behavior both noble and otherwise, married to tough, engaging melodies full of muscular guitar work. Wynn launched his solo career with 1990's Kerosene Man...Sweetness and Light blends the '60s psychedelic pop of The Beatles and The Byrds with the punk intensity of groups like The Velvet Underground and The Kinks. The album magically captures the furious intensity of Wynn's concert performances and blends it with the brilliant pop-oriented production of Wynn and John Agnello. Agnello has previously worked on albums by Dinosaur Jr. and Patti Smith. "I honestly think this is my best sounding record and a lot of the credit has to go to John Agnello," said Wynn. The album follows the same blueprint as 1996' Melting in the Dark, finding Steve Wynn exploring the feedback-drenched, psychedelicized rock that was/is his signature with the Dream Syndicate. While it's not as heavy as its predeccessor, the record has a grander array of sonic textures and a number of well-crafted songs that make it worthwhile for longtime fans.The album's kicks off with the adrenaline-pumping air travel nightmare of Silver Lining and never looks back. The title track pushes off Linda Pitmon's powerful cade...

Prog-psych / acid-folk lost classic from 1969 by this short lived London trio. Now lovingly reissued on vinyl with fantastic remastered sound and including insert with rare photos / memorabilia and detailed liner notes by Steve Krakow aka Plastic Crimewave. Named after a Cannonball Adderley track, Synanthesia formed thanks to a Melody Maker ad placed in 1968 by guitarist/vibes/vocalist Dennis Homes, answered by Jim Fraser (who played sax, oboe and flute) and Leslie Cook (an Incredible String Band fan on bongos, violin and mandolin). With their particular blend of folk, jazz and psychedelia, the trio played all the key underground venues and clubs, sometimes alongside top acts like Floyd, King Crimson or Fairport Convention. Their sole album was recorded at Sounds Technique studio in Chelsea (which was where Pink Floyd were recording their albums at the time) and subsequently released by RCA. The cover featured the trio climbed onto a tree at the same park where the Beatles filmed their “Strawberry Field” promo film. Despite the good reviews and the support of DJs like John Peel, the album was considered too far out and psychedelic and eventually flopped, only to be re-discovered several decades later by acid-folk fans and collectors.

It happened in 1967... ‚The Summer of Love’ may date back 50 years, but ’Tages – Studio’ will remain a timeless classic. Every household should get its copy!!!
Tages (pronounced "tah-guess") are universally known as the best sixties pop band from Sweden. They struck it big early, hitting the Swedish #1 with Sleep Little Girl in 1964! Their efforts in the psychedelic era would be their last. ’Studio’ should sit comfortably next to other masterpieces of the year 1967, a few notches closer to ’Odessey & Oracle’ than ’Sgt Pepper’s Lonely Hearts Club Band’.
Thanks to the tape cuts, orchestration, harmonies, and studio tricks, it sounds like the guys got their hands on a copy of Brian Wilson's then yet unreleased ’Smile’ tapes. Certainly, anybody willing to spend enough time exploring all the rabbit holes in the Beatles’ catalog owes themselves a trip through this marvelous record
Have You Seen Your Brother Lately
The album opener, Have You Seen Your Brother Lately, proves how apt the name ’Studio’ is for such a creatively produced statement. Few won't be sold within the first few seconds, hearing a looping string quartet surrender to a commanding rhythm highlighted by pounding drums and boxy plucked bass lines. Delicate touches of grand piano and kazoo bust open the door to an album rife with auditory treats and excellent craftmanship. Vocals are good, reminding of an edgier Colin Blunstone, with plenty of fine backup parts.
’Studio’ comes across of rather diverse nature. It's My Life, the second track growls out dark guitar distortions straight from the Move arsenal under workout vocal leads. The drums stand out, consistently providing ahead-of-their-time, vicious beats.
Tunes are often loaded with orchestration like the soft ballad, People Without Faces, and bouncier brass marches like What's The Time and She's Having A Baby Now. Tasteful psychedelic treatments abound in backwards guitar leads, weird stomp boxes, and sound effects sprinkled throughout the record.
First time on DVD, ever
The accompanying previously unreleased DVD of ’Dalamania’ was produced by Swedish national TV, SVT and shows the Tages on the height of their psychedelic career. This little piece of rock history appears to be such a thing as the Swedish version of the UK Beatles movie, ’Magical Mystery Tour’. Since its original broadcast in 1968, ’Dalamania’ has remained unnoticed on the shelfs of SVT. First time on DVD, ever.
An album like ’Studio’ should have propelled the Tages to the top 500 lists, worldwide, rather than remain a Swedish Rock ’n’ Roll footnote. Members of the Tages would form Blond in 1969 a band that disbanded in 1970.
1-LP (Gatefold sleeve) with 8-page booklet 25x25 cms) plus bonus DVD in cardboard sleeve (DVD5, b&w, 30 mns, English, 4:3, NTSC, region: 0)

As we continue our half-joke-verbal agreement of "one album per year" with Taner Öngür, here we go with "Water Cycle". Like many musician in the world, lock down home, early 2020 Taner Öngür got back to his own song books and merge them with some new ideas and brought us this exceptional instrumental album. It's quite hard to classify it within one genre but we can say it takes off from progressive sounds and explore around Öngür's latest band 43,75's own swing-surf-rock style (of course with some little psychedelic touches). These 14 tracks consist 3 special covers such as the Beatles' "I am the Walrus", Bollywood's famous "Mera Joota Hai Japani" and "Ya Mustafa" which featured in various works of middle eastern cinema. Taner Öngür, the legendary bass player of Moğollar (the iconic group of 1970’s Anadolu Pop movement), is producing solo projects since 90's. "Water Cycle" is his 4th opus of his collaboration with his latest band 43,75 and Tantana Records. During lockdown days of 2020, Öngür got back to his own song books and surfed between UK and India -and of course over fly central Asia- got together this very special instrumental guitar trip. Considering he is the "baptist" of the "anatolian rock" movement of 70's, his beyond-genres-eclectic view to the music fits perfectly to the swinging guitars, progressive touches, tribal beats, melancholic moments of “Water Cycle"... It's also a great "introduction to Taner Öngür's universe". Back in 2016 he formed this project: 43,75. Their first album “Elektrik Gramofon” (2017) was a beautiful selection of 20's - 50's Istanbul songs, distilled by Öngür's surf-swing-rocknroll appoach (it's LP's sold out within 48 hours!). Nowadays, most of the vinyl collectors knows about Anatolian Rock; but not many knows that Taner Öngür was on many cult records of the era and the definition of "anatolian pop" and "anatolian rock" are actually Taner Öngür's own wording, that became the name for it - since 70's. So, on "Sayko Ana” (2018) Öngür did not hesitate to have fun with it; browsing between forgotten Turkish folk songs and psych them. In 2019, he got back into archives, to dig "strange stories" from newspapers and vintage novels of 1930's-1960's, which gave birth to "Asrî Sadâ" album, that its LP consisting a superb - rich contented 16 pages tabloid newspaper; with "news" and "articles" related to the songs... and many other bizarre details of our "dusty days”. So, please welcome to Taner Öngür's own psych-surf-swing flavored universe!

Originally released in 1982, ‘They Could Have Been Bigger Than The Beatles’ was the influential band’s third album. A collection of singles, demos, outtakes and rarities that was intended to mark the band's breakup in 1982, had they not got back together again so soon. This 2024 reissue comes with faithfully restored artwork, from one the album’s original hand painted sleeves.

The record features ‘David Hockney's Diaries’, ‘The Boy In The Paisley Shirt’ and ‘Psychedelic Holiday’. With the formidable Daniel Treacy at its core, Television Personalities remain one of new wave’s longest serving and seminal artists, with a career spanning over three decades. The indie pop visionaries have influenced many people across the industry including Pavement, The Lemonheads, Fat White Family, Mgmt and Creation Records’ Alan McGee.

“Its scope is incredible, its ambition outstanding and its heart damn near broken.” Melody Maker.

Still sealed. 2015 reissue.

Still in shrink but opened. EU reissue. Original inner sleeves.

Vinyl with a couple of light scuffs, close to VG+. Cpver with spine and edge wear, closer to VG+

Japanese pressing, no Obi.
Sleeve has foxing and wear.
LP has surface marks.

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

2012 reissue. Still sealed with hype sticker.

Red vinyl with many scuffs, hairlines and some deeper scratches. Japanese pressing without OBI.

Japanese pressing, no Obi.
Sleeve has small seam-split on top.
LP has surface marks.

Japanese pressing without OBI, but with insert. Few paper scuffs. Cover is close to NM.

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

Still sealed. Tiny wear. Limited numbered edition. Picture Disc. 2020 reissue.

For the first time ever on vinyl here are four original Lennon/McCartney compositions which not many people have heard before. All the performaces here were recorded during the January 1969 sessions and were concidered not good enough for the 'Let It Be' and the 'Abbey Road' albums. 1st generation tapes. The first track which spreads all over side 1 is a fine example of how the Beatles could work together, exploring new ideas as this Lennon original devolpes into a jam session around the line of 'I told you before, get out of my door'. In the middle of this track you can hear John discussing accord changes with George while Paul sings this line as a rugh guide. Ringo is in his best form here, you've never heard him using sticks before like that! It's imortant to indicate that this song is NOT 'I found Out' from Lennon's Plastic Ono Band" album of 1970. The opener of side 2, is a also a Lennon track, the longest version ever to appear, a track that could do well along 'Mean Mr. Mustared' and such. Closing the album are two long McCartney Tracks. Fast rockers in the 'Helter Skelter'/I'm Down' tradition. The last one could not appear on any Beatles album as the Feminist Mafia would ban it!

Japanese pressing. OBI is missing.

Japanese pressing without OBI, but with insert. Vinyl with a couple of light scuffs

Japanese pressing without OBI, but with insert. .Vinyl with scuffs, hairlines and a couple of deeper marks

1976 Japanese reissue. OBI is missing. With insert. Vinyl is Close to VG+.

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin
Additional discs featuring a selection of outtakes from the recording sessions
Blu-ray contains Dolby Atmos mix, 5.1 surround mix, plus high-res stereo mix of the original album

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin
Additional discs featuring a selection of outtakes from the recording sessions

“Live At The Hollywood Bowl” shows the great and magic atmosphere of the band’s sold out concerts in the Hollywood Bowl from the years 1964 and 1965. This is the first ever vinyl release of the material. The records are pressed on 180g vinyl and will be housed in a beautiful gatefold cover.