Search "men+i+trust" 165 Items

Promo copy with white labels . Vinyl close to VG+

Clear vinyl. Copy n° 20/30

Brown vinyl

Japanese pressing without OBI, with insert.

Cover closer to NM. Without CD

Japanese pressing with OBI and insert. Vinyl close to NM

Specialty Pressing

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...

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

Copy close to NM

Japanese pressing without OBI

The next 7inch release from Bongo Joe. This one is from Collignon which comprises Yves Lennertz on guitar (and bass), Gino Bombrini on drums (and percussion) and Jori Collignon on the keyboards (and taking care of the production). The three friends have been making music together for some time, collaborating in different groups and settings, Jori and Gino as part of the band SKIP&DIE, Gino as a producer for Yves" former group, YIN YIN.

Translucent Orange wax.

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

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

Vinyl with a long hairlines on Side 2, otherwise VG+. Japanese reissue from 1980 without OBI, with insert. Cover with light wear and a couple of small stains, no seam splits or tears.

Surfers’ Choice is a true landmark of surf rock, being the album that established the genre more than any other release. First issued in 1962 and mostly recorded at the Rendezvous Ballroom in Balboa Beach, midway between Los Angeles and San Diego, it has rollicking surf anthems like ‘Surf Beat,’ ‘Shake ‘N Stomp,’ ‘Surfing Drums’ and ‘Take It Off,’ as well as Dale’s adaptations of ‘Night Owl,’ ‘Fanny Mae’ and a strangely orchestrated take of ‘Sloop John B.’ With a soaring guitar that’s drenched in reverb at centre stage and Dale’s gritty vocals varying the action, this is the enduring start of surf rock and a blistering start at that!

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.

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."

Elvis Presley’s self-titled debut album forever changed popular culture on release in 1956, its earthquake aftershocks still felt some 65 years later. Gritty adaptations of Carl Perkins’ ‘Blue Suede Shoes,’ Ray Charles’ ‘I Got A Woman’ and Little Richard’s ‘Tutti Frutti’ helped make it the first Rock ‘n’ Roll album to top the Billboard charts, where it remained unchallenged for a full ten weeks. The iconic cover image with its distinctive lettering, showing Presley brandishing his acoustic guitar, helped embed the instrument in rock mythology too, indelibly changing how we conceive of the genre and its axemen. Elvis Presley proved that our hero was already the undisputed King of Rock ‘n’ Roll, just as he still is today.

Elvis Presley’s self-titled debut album forever changed popular culture on release in 1956, its earthquake aftershocks still felt some 65 years later. Gritty adaptations of Carl Perkins’ ‘Blue Suede Shoes,’ Ray Charles’ ‘I Got A Woman’ and Little Richard’s ‘Tutti Frutti’ helped make it the first Rock ‘n’ Roll album to top the Billboard charts, where it remained unchallenged for a full ten weeks. The iconic cover image with its distinctive lettering, showing Presley brandishing his acoustic guitar, helped embed the instrument in rock mythology too, indelibly changing how we conceive of the genre and its axemen. Elvis Presley proved that our hero was already the undisputed King of Rock ‘n’ Roll, just as he still is today.

The movie directed by Baz Luhrmann is just out, so why don’t you pick up on this ? Included on this set are Elvis’ greatest hits from the period 1955-62, among them all of his King singles that reached number one on the U.S. pop charts between 1956 and 1962. Among other smash hits, this release includes both sides of the single “Hound Dog”/“Don’t Be Cruel” (the most successful Elvis single release, with 11 weeks on the charts), Elvis’ second RCA single, “I Want You, I Need You, I Love You,” and the classic rocker “Heartbreak Hotel” (which peaked at number one and remained on the charts for eight weeks after extensive television exposure following its release).

Vinyl with a couple of light scuffs, close to VG+

Cover with sticker, close to VG+

Classic Rockabilly two sider.

Over the course of their stop-start five years together, Honeybus ventured into the BBC studios on a dozen occasions, leaving a catalogue of recordings that mirrored their latest releases as well as offering up a fascinating alternate history. The songs that make up 1970’s much-loved “almost didn’t happen” Story album (reissued by Hanky Panky/Mapache in 2018, along with the rest of the group’s output) began appearing as early as the summer of 1968. The likes of ‘Scarlet Lady’, ‘Black Mourning Band’ and ‘Under The Silent Tree’ appear almost fully-formed, played as ensemble pieces, suggesting that their album counterparts were captured quickly and without fuss during snatched studio sessions throughout late 1968 and 1969. They also demonstrate Honeybus’s often overlooked skills as a live unit – BBC sessions notoriously allowed little scope for re-takes or overdubbing; you went in and you laid it down while the men in white coats watched the clock. Thrilling as it is to finally hear these alternate versions of familiar Honeybus cornerstones, it’s the surfeit of otherwise unrecorded material that’s the most startling revelation here. Under The Silent Tree: Gentle Sounds With Strings And Things At The BBC 1967-1973 presents no less than 10 unique Honeybus songs (plus a further four on the CD version only) that virtually constitute an entire second album’s worth of unheard material. We find ourselves in a kind of musical hall of mirrors, revealing in a whole new perspective on one of the last great cult pop groups of the ’60s, where every track offers a fresh outlook, a fresh thrill, a fresh sound. With strings and things.

tiny wear

Record is close to NM.

90ies reissue.

With original inner sleeve

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).

unreleased cover songs, limited to 1250, indie-retail exclusive Limited edition for Record Store Day 2015!

Non-textured cover has some light stains and shelf wear

Joyce Harris was born in Kentucky in 1939 and moved to New Orleans with her family when she was 13 years old. Harris learned to play guitar, write songs and was soon performing duets with her younger sister Judy. They released three singles – ‘He’s The One’ / ‘Hey Pretty Baby’, ‘Washboard Sam’ / ‘Nursery Rock (Beedle De Bop)’ and ‘Hey Little Baby’/ ‘Rock And Roll Kittens’ – as Judy and Joyce in 1958. When her sister got married, Harris spent a year singing in restaurants in Mexico and a first solo single ‘It’s You’ / ‘The Boy In School’ was released on New York’s U.T. Records at the end of 1959. A talent spotter saw her in Mexico and was impressed enough to secure her an audition with the Austin, Texas-based Domino label. Harris was soon in the studio with Tommy Kaspar and Don Burch of Domino’s vocal quartet, the Slades, to record ‘I Cheated’ / ‘Do You Know What It’s Like To Be Lonesome?’ (r-903) in October 1960. ‘No Way Out’ / ‘Dreamer’ (r-905) followed in January 1961 and sold strongly enough to be licensed to Infinity Records. On 7 April 1961, Harris performed ‘No Way Out’ live on TV on American Bandstand. Three more singles would be issued on different labels between 1963 and 1966.

Julissa, the Woman Who Was Censored in Mexican Rock! Rock and Roll in Mexico had an impact practically all over the world, yet it was never free from censorship. Several songs made it to the radio, and among them was the track "Ven Cerca," performed by Los Spitfires and their singer Julissa. Julissa entered the entertainment industry at a very young age, as she was only 13 years old when she started singing with The Spitfires, a rock and roll group formed by her brother Luis on bass, Juan Ramón Sordo on drums, José Luis de la Huerta, and Manuel González Galindo, better known as Johnny Dynamo, on guitars. Los Spitfires, a band originating from Mexico City and formed in 1960, were one of five winning groups in a contest organized by CBS Columbia and the Radio Éxitos station, held in November of that same year. Los Escupefuego were the runners-up, as first place went to Los Hooligans, who, in addition to recording an album, would also appear in a movie. The other groups that won the opportunity to record an album with CBS were: Los Loud Jets, Los Blue Caps, and Los Sparks. Los Spitfires only recorded two tracks: "Loco Amor" and "Ven Cerca," Spanish versions of Paul Anka's "Crazy Love" and Johnny Restivo's "Come Closer." Although these songs are not widely known, except among true fans, they serve as a reference to the early rock being made in Mexico during that time. At the time, all rock musicians were copying foreign hits, including the musical arrangements, and simply translating the lyrics into Spanish. For Julissa, this task wasn't difficult, as she was fluent in English. "Ven Cerca" ("Come Closer") with its highly suggestive lyrics, was the first song she recorded with her group. She translated the lyrics exactly as Johnny Restivo sang them in English. It began like this: "Come closer, just a little bit closer, because I want to hug and kiss you, come closer." Julissa sang it with whispers and sighs, and with the microphone so open, all her breaths and gasps sounded like genuine moans. Very soon, the record was pulled from the market. Interestingly, she had no idea what those suggestive expressions implied, as she was almost still a child. That record 45s it is very difficult to find and is a rare piece sought after by collectors from around the world!

Limited Edition. Colored Vinyl.
Includes original insert.
Cover as new with slightly dented corners.

Include four bonus tracks.