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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.

Vinyl close to VG+. Original inner sleeve with seam splits

Classic Rockabilly two sider.

This double LP includes such number 1 hits as "Lovesick Blues", "Jambalaya (On The Bayou)", "Kaw-liga" and "Your Cheatin' Heart". This anthology is the perfect starting point for newcomers to Hanks Williams' recorded legacy.

180g vinyl in gatefold sleeve.

Fully remastered and licensed ltd to 500 copies, 180 gr. Fapardokly was an American band from the West Coast. They’re sole self-titled album was effectively a 12 tracks developed by leader Merrell Fankhauser accompanied by a rotation of musicians. Originally released in 1967 on the small imprint UIP, the album is a perfectly fitting lost nugget from the psychedelic era, collecting a series of lysergic pop numbers with solemn orchestration and strong choral vocal efforts. One of the leading tracks – ‘Gone To Pot’ – has an aurea similar to the classic Byrds ‘Eight Miles High’, promoting an extra-sensorial experience all the way.

The Ethereal Harmonies Of Eve Were Ever Present, But The Psychedelic Girl Group Feel Of Their Previous Band,Honey Ltd, Was Replaced With Funky Grooves And A Stoned Country Rock Vibe That Permeated Los Angeles In The Early 1970s.In The Late 1960s, Four Teenage Girls From Detroit Hitch-Hiked To Los Angeles To Follow Their Dream. Known As The Mama Cats, Their Combined Voices, Created A Magical Instrument, A Holy Harmonic Vehicle Built Upon The Inspiration And Improvisation Of Four Close Friends. Their Ethereal Voices And Heavenly Harmonies Sounded Like No One.Upon Meeting Lee Hazlewood In Los Angeles, He Was Bowled Over, Offering Them A Recording Contract On His Label, Lee Hazlewood Industries (Lhi), Renaming Them, Honey Ltd. Their Sole 1968 Lp Never Saw The Light Of Day. Out Of The Ashes Of The Group, The Three Remaining Members Continued On Under The Name Eve.In The Spring Of 1970, Eve And Producer Tom Thacker Went Into The Studio To Record "Take It And Smile". The Ethereal Harmonies Were Ever Present, But The Psychedelic Girl Group Feel Of The Honey Ltd Album Were Replaced With Funky Grooves And A Stoned Country Rock Vibe That Permeated Los Angeles In The Early 1970s (Think John Philips "Wolfking Of L.A.). Backed By Another Amazing Group Of Musicians, The Recording Sessions Included Members Of The Wrecking Crew, Elvis' Tcb Band, Ry Cooder, Sneaky Pete And Glenn Frey From The Eagles. Featuring Songs By James Taylor, Fred Neil, The Gibb Brothers, Burt Bacharach, Bob Dylan, Mac Davis And A Handful Of Amazing Originals Including The Beautiful "Dusty Roads" And The Title Track "Take It And Smile," Co-Written With Glenn Frey. Upon Its Release, The Album Failed To Find An Audience. After Recording One Last Song, "So Tired" For The Vanishing Point Soundtrack, The Girls Went Their Separate Ways, Each Continuing To Sing Professionally With Artists That Include Bob Seger, Neil Young, Tina Turner, Loretta Lynn And Countless Others.Remastered From The Original Analog Tapes By Grammyr-Nominated En...

Japanese pressing without OBI, but with insert. Vinyl close to NM

Guitarist Earl Slick never had a Plan B. Still doesn't. In fact, he doesn't believe in backup plans. "If you have a backup plan," said the guitarist who for decades worked alongside rock royalty including David Bowie and John Lennon among others, "then eventually you become the backup plan." Which explains -- and fuels -- Slick's new album, "Fistful of Devils." Harnessing his musical roots as a child of the 60s when blue-based rock pushed its way to the front of the line and incorporating his decades as one of the most sought-after touring musicians in the business, Fistful is Slick as he's been from the start: an artist who fully mines the depths of the blues and guitar by drawing on a toolkit assembled from blues to glam to punk to rockabilly. The 11-track album is no retread retrospective of Slick's run of 40 years as a professional guitarist; it's an audible demonstration of a virtuoso still pushing deep into rock and roll's blues roots. The instrumental album, Slick says, is acrobatics without a net. Some of the tracks on Fistful were ideas that had been rattling around in his hear for decades. Some were wholly new. The sinister "Black," for example, seemed to flow up from the ground when they entered studio, he said. It was written, "in maybe 10 minutes," he said. "It's dark." Contrast that with the soaring, diving number "Vanishing Point." That was born in a lick he'd saved nearly 30 years ago and only recently rediscovered in a sound file. He didn't know what do with it when he wrote it, so he tucked it away. But now, "all of these years later I came at it with a different head than I had then." And this is what people are going hear in "Fist Full Of Devils" he said: That lifelong journey from Brooklyn didn't leave him empty handed; he brought back the prizes, the tricks, the scars, the influences and the tools from a road that never presented a detour. Or an end. He's a man, after all, who knows a thing or two about persevering, about longshots and locked-in trajectories. Perseverance also had no backup plan when it was launched. It had to get there. "I am," Slick said. "Exactly where I should be."

The label on this single hits the nail on the head - Michigan's singing cowboy! Despite a very long 45-year career in country music as a promoter, radio station operator, artist and label owner, very little is known about Earl Peterson. In late 1952, he formed Nugget Records with his mother, basically as a means of self-releasing his music.
While shopping his music down South, he met Sam Phillips and agreed to release his song on Sun Records in the spring of 1954. This bouncing, twangy single would prove to be a cult hit and original pressings still command a lofty price. As the first remotely contemporary country single on the label, Peterson's single paved the way for Sun to later pivot into the country genre.
From there, Peterson's story becomes a bit murkier. He recorded the same song for Columbia in the fall of 1954, strangely disregarding his contractual agreements with Sun. He went on to release a couple more singles with Columbia and by the '60s, was holed up in rural central Michigan to run a radio station (WPLB) with his family.

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.

Del Shannon did not fit the typical teen-idol mould other pop singers of the early Sixties were shoehorned into. Although he certainly had the required good looks, his songs had a brooding intensity to them, with recurring themes of loss and rejection that didn't sit well with the typical pop-star image of the time. In many respects he was similar to the UK's John Leyton and did a lot to pave the way for the British Invasion and the huge expansion to the boundaries of what could be considered pop music.

This EP contains their second & third singles. Both were originally released in 1965 by Parlophone. Produced by Joe Meek.

Rock n Roll fans - please welcome Hairy Mountain - the second album from West Australia’s Datura4. Building upon the "‘guitars-to -infinity’" approach of Datura4’'s acclaimed debut LP ‘Demon Blues’, ‘Hairy Mountain’ is ten solid tracks celebrating an unbridled joy for rock’n’roll ,with a nod to the spiritual presence of their hairy Oz Rock forefathers. Hairy Mountain’ is the culmination of a lifetime of musical archaeology and the ongoing search for the never ending riff. It'’s the brainchild of Dom Mariani (frontman of Australian garage rockers The Stems and Power Posters DM3) and Greg Hitchcock (former You Am I and one-time New Christs’ guitarist), and their new full-tilt boogie, psych and prog combo Datura4. -–BLURT Throwback in the best possible way, the way you can go to some underground club in your nearest big city and see kick-ass rockers throwing it down like it was 1972. But unlike those amateurs, Datura4 is the real deal. In Mariani and Hitchcock, it has the pedigree. – -UNDER THE RADAR Elements of hard-lined blues remain evident, but are primarily smoothed out by a dominant, free-formed ’70s psych sparsity. Those sprawling soundscapes themselves threaten explosive outbreaks yet are reigned in further with a defining boogie, a heavy footstep of swagger that sets a more contemporary course. -Johnny Nail / ROLLING STONE AUSTRALIA

Japanese pressing without OBI, but with insert.

Japanese pressing without OBI, but with insert.

Vinyl close to NM

Acid Jazz group label Countdown Records is excited to announce the next release in our Mod Classics series – the fantastic, super-hip R&B of North London Group The Bo Street Runners, with an exclusive coupling of their ‘Bo Street Runner’ b/w ‘Baby Never Say Goodbye’. To those of us who grew up on the ’80s mod scene, they are two iconic tracks that filled floors from East London’s Regency Suite to Sneakers in the West.

The Bo Street Runners formed in 1964 and made their name playing at the Railway Hotel in Harrow – the same venue where The Who made their name. They recorded a super rare self funded EP on OAK before signing to Decca after winning the Ready Steady Win! competition. Their debut single was the Bo Diddley inspired ‘Bo Street Runner’ with its frenetic Harmonica.

When this didn’t chart the band’s contract was sold to Columbia who released their final three singles. The pick of these was the jazzy ’Baby Never Say Goodbye’ – which featured Mick Fleetwood on drums, on his way to greater success elsewhere.

Presented in the new Countdown Mod Classics monochrome geometric housebag and pressed on white vinyl. Limited to 500 copies.

From his first self-released album in 2001, through sixteen more, over thirty singles, and collaborations with the likes of King Khan, Mark Sultan, Jon Spencer, Deke Dickerson, and the 5.6.7.8’s, Bloodshot Bill has parlayed his unique blend of rockabilly, R&B, and garage rock into feverishly prolific productions that tap into the very roots of mutant rock’n’roll. As his reputation has grown, Bloodshot Bill has been deemed a rockabilly wildman, a primitive, a seminal punk, a throwback to the wild ’50s, and the deranged spirit of psychobilly madness. His latest album, Psyche-o-Billy, on Goner Records, exudes raw energy and authenticity via a frenzied, stripped down soundscape that defies all rules and descriptions.

Written during the Covid-19 pandemic and recorded at Bloodshot Bill’s home studio in Montréal, Québec, Psyche-o-Billy is equal parts joyous, moody, plaintive, searching, and deeply steeped in that old weird America documented via the otherworldly tunes captured on Harry Smith’s Anthology Of American Folk Music. “My music is for weirdos,” Bloodshot Bill confirms. “I want ‘em to feel good...or bad… Whatever way they wanna feel!”

“Like Roy Orbison with a head injury!” —John Waters

For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two-dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!

Gold opaque vinyl. Cover with slightly bumped corner, closer to NM

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.

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.

Ben Vaughn's unstylized singing and guitar is filtered through his quirky sense of humor, resulting a collection of clever lyrics and catchy tunes scented with vintage aroma.It sounds just as fresh today as it did back then and sees now its first reissue in 35 years!The Ben Vaughn Combo blazed the trail for American music that was way off kilter compared to the competition. Their tri-state type Tex-Mex sound really shook things up. Their reputation as a live act grew exponentially with every show they played. Theirs was a twist on the roots rock scare with a reach something like The Fleshtones, outside of the standard 80s ranch stash. The sort of thing that has a tendency to get written out of history despite being timeless, it doesn't easily fit into any premeditated narrative.When "The Many Moods Of Ben Vaughn Combo" appeared in 1986, the Combo literally had the world at its feet. Many of the hits you hear when you see him (and the Quintet) today are on this platter. Long out of print and somewhat sought after, this was the first time that Ben's Rambler car was heard on a record. And not the last.The Andy (then Adny) Shernoff inspired 'I Dig Your Wig' is like The Cramps with a Doug Sahm infusion. The accordion is the secret weapon here. Little used in rock 'n roll and often scoffed at, it allows these songs a setting that your conventional instrumentation would just flatten. Reading the sleeve info you'll see the legend "DEDICATED TO THE GEATOR", a nod to the legendary Philly DJ that inspired Ben to come up with his sound. It sounds just as fresh now as it did back then.Perhaps you're too young to have been around when this record album was first available? Maybe you wore your three copies out? Whatever your story is, these "Many moods_" will lift yours in these perilous times. Don't end up sorry (like Brenda Lee).The man himself (and the aforementioned players) will be revving up their engines for an appearance at Surforama 2022 in Valencia and appearing at other locations a...

Two stickers included.

Clear vinyl. Copy n° 20/30