Classic Rock 377 Items

Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition.

Recorded in 1970 but never released at the time, featuring future members of Roky Erickson’s backing band Bleib Alien / The Aliens.

Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson’s first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi / horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found (another International Artists band). The definitive Amethyst line-up, with Hugh Patton on drums and Mike Waugh on bass, played at venues like the I.L. Club, a historical landmark of Austin blues & psychedelic music.

It was through Mike Waugh’s friendship with Elevators drummer John Ike Walton that Billy Miller and the band (still unsure about their name but calling themselves The Daily Planet, changing it to Dark Shadows, and then to Cold Sun) hooked up with the local label / studio Sonobeat (Mariani, Wildfire, Johnny Winter…), who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller’s strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller’s house on Castle Hill (west Austin). The album opens with “South Texas” (“the ultimate psychedelic track,” according to Patrick “The Lama” Lundborg), climbing to a psychedelic summit with the final 11 minutes of the fervently intoxicated “Ra-Ma”.

Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. Billy Bill Miller along with drummer Hugh Patton founded Bleib Alien (later The Aliens), the famous backing band of Roky Erickson, with Billy being essential in bringing Roky back to music after his stay at Rusk Mental Hospital.

It wasn’t until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print.

For this new edition on Guerssen, we’ve tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney.

Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration / remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.

*Hard cardboard sleeve with vintage styled artwork by Callum Rooney *Audiophile restoration / remastering by Ezra Lesser *Insert with detailed liner notes and photos *Download card

“One of the most important psychedelic records, and unlike any other one.” – Paul Major

“Cold Sun is an anomaly in Texas psych history. As significant as Bubble Puppy or Moving Sidewalks but in no way similar, the Austin quartet cut one cult classic in its brief existence, the spell-binding Dark Shadows, which Jello Biafra called “the best psychedelic album I know of.” – Austin Powell (Austin Chronicle)

“Billy Miller invented Post-Punk in 1970” – Julian Cope (Head Heritage)

Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition.

Recorded in 1970 but never released at the time, featuring future members of Roky Erickson’s backing band Bleib Alien / The Aliens.

Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson’s first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi / horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found (another International Artists band). The definitive Amethyst line-up, with Hugh Patton on drums and Mike Waugh on bass, played at venues like the I.L. Club, a historical landmark of Austin blues & psychedelic music.

It was through Mike Waugh’s friendship with Elevators drummer John Ike Walton that Billy Miller and the band (still unsure about their name but calling themselves The Daily Planet, changing it to Dark Shadows, and then to Cold Sun) hooked up with the local label / studio Sonobeat (Mariani, Wildfire, Johnny Winter…), who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller’s strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller’s house on Castle Hill (west Austin). The album opens with “South Texas” (“the ultimate psychedelic track,” according to Patrick “The Lama” Lundborg), climbing to a psychedelic summit with the final 11 minutes of the fervently intoxicated “Ra-Ma”.

Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. Billy Bill Miller along with drummer Hugh Patton founded Bleib Alien (later The Aliens), the famous backing band of Roky Erickson, with Billy being essential in bringing Roky back to music after his stay at Rusk Mental Hospital.

It wasn’t until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print.

For this new edition on Guerssen, we’ve tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney.

Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration / remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.

*Hard cardboard sleeve with vintage styled artwork by Callum Rooney *Audiophile restoration / remastering by Ezra Lesser *Insert with detailed liner notes and photos *Download card

“One of the most important psychedelic records, and unlike any other one.” – Paul Major

“Cold Sun is an anomaly in Texas psych history. As significant as Bubble Puppy or Moving Sidewalks but in no way similar, the Austin quartet cut one cult classic in its brief existence, the spell-binding Dark Shadows, which Jello Biafra called “the best psychedelic album I know of.” – Austin Powell (Austin Chronicle)

“Billy Miller invented Post-Punk in 1970” – Julian Cope (Head Heritage)

Some things are worth waiting for… "Morning Star" is the first all-new album by The Prisoners since 1986. It
features the original line-up of
Allan Crockford – bass, vocals
Graham Day – vocals, guitar
Johnny Symons – drums
James Taylor – Hammond organ, vocals
After a phenomenally successful series of gigs in December 2022 marking the 40 th anniversary of their debut album 'A Taste of Pink', the band decided to make some new music. The recording was completed in two days, one of them in Studio 2 at Abbey Road. Their preference for recording quickly hasn't changed since they recorded that first album as teenagers, also in two days, in 1982. To celebrate, they play The Roundhouse in London on May 24th, their biggest headline gig
Biography
The Prisoners formed when they were still at school in Rochester, Kent. Between 1982 and 1986 the band released four albums plus several singles and EPs. Inspired by the local Medway DIY music ethic, their debut 'A Taste of Pink' and 'The Last Fourfathers' appeared on their own label, Own Up Records whilst "The WiserMiserDemelza" was released on Big Beat (Ace Records) and "In From The Cold" on Countdown (Stiff Records).
They earned a reputation as an incendiary live act as they plied their trade around the UK and Europe, building up a dedicated following and unknowingly inspiring a generation of future musicians. Their unique sound, based on instantly memorable and melodic songs surfing on a seething wave of brutal guitar, attention-grabbing, up-front Hammond and head-pounding rhythms, made for an explosive evening of entertainment. It was a unique combination of the sonic assault and danger of The Who and 60's garage-punk, the soulful vocals and dynamics of the Small Faces plus the groove and danceability of Booker T & the MGs. Throw in the intensity, drive and insolence of punk rock, as well as an unabashed love for instrumental TV themes and you had a wonderfully off-kilter version of where the real cool kids were at in the early '80s…
Despite some brushes with 'success', the pressures of hard living on the road took their toll and they quit in September 1986. They left behind a legacy and a sound that was inspirational to many that followed. Not many under the radar bands of the 80's would merit chapters dedicated to them in biographies of such luminaries as Steve LeMacq and Tim Burgess as well as being name checked as Brit-Pop forefathers. Their original albums make regular appearances in 'Great Lost Albums' lists and continue in print to this day.
James Taylor subsequently went on to gain huge success as the best pure Hammond player of his generation with his jazz and funk quartet (jtq). His playing and sound undoubtedly played a massive part in restoring the popularity of his chosen instrument.
That work started in The Prisoners.
Graham Day and Allan Crockford, both together and apart, continue to the present playing music that has ploughed a similar furrow to The Prisoners in such combos as The Prime Movers, The Solarflares, The Gaolers, The Galileo 7 and The Senior Service.

Alle fünf Studioalben der Band um Rio Reiser versammelt auf acht 180g Vinyl-Platten in dieser Box plus Buch und Poster sind wieder erhältlich.

180 Gram 45RPM Audiophile Vinyl, Numbered Limited-Edition

After their debut album the most multifaceted and unpredictable musical collective in Italy – Addict Ameba – come back with their sophomore album, “Caosmosi”. Faithful to the aim of bringing together different paths, traditions and horizons in their music, the band moves between desert-blues and afrobeat landscapes, with latin rock rides and ethio-jazz parentheses. The vision of the album is further enriched by two absolutely valuable features: Joshua Idehen, Anglo-Nigerian poet and singer and pen of Sons Of Kemet and The Comet is Coming, is the author and lead voice in “Look At Us”, a poem – or perhaps it would be more correct to say a prayer – an invitation to be protagonists and change this time, before it changes us; Rabii Brahim, Tunisian actor and musician, who in "Ya Bled" gives birth to a love song for his land, telling the nostalgia and disorientation of migrant, even when he returns to his homeland. To approach listening to this album you should project that state of melancholy euphoria that you would experience when taking part in the last great party before the disappearance of the human race... Caosmosi!

"The Coffee Plant Demos" serve as a testament of the artistic chemistry and a journey towards musical stardom. These recordings remain cherished among fans as a rare treasure, offering a glimpse into the early days of two iconic musicians before they embarked on their legendary careers with Fleetwood Mac.

Summoned by the elders of Krautrock and re-defining their sound through occult rituals and old witchcraft, Hodo Gaia 保土谷化 gives a first glimpse into a captivating soundscape with their debut single Collarbones. Motorik rhythm and gut punching bass forms the cauldron that holds a psychedelic brew with bewitching vocals floating on the surface. Influences of non-western sounds and musical concepts enrich the taste and round up the intoxication. The more delicate side that lives from haunting minimalism is the other part of the experience. Get high and calm down.

Psychedelic, funky hard-rock with plenty of distorted guitar and Hammond by this “supergroup” created by legendary producer Shel Talmy and featuring some of the best session musicians from the UK: Herbie Flowers (bass), Alan Parker (guitar), Clem Cattini (drums), Alan Hawkshaw (keyboards) plus Peter Lee Sterling (Daniel Boone!) on powerful vocals.

This is their first album from 1970, originally released in the UK, Europe and the US, now officially reissued on vinyl for the first time, faithful to the original UK edition with the effects between songs and the lavish gatefold sleeve (both omitted on the US one).

Riyl: Led Zeppelin, Ugly Custard, Hungry Wolf, Black Cat Bones, Atomic Rooster…

*Original UK artwork in gatefold sleeve *Sourced from the original master tapes *Insert with liner notes by Alec Palao and rare photos / memorabilia

In Ngélar—the sextet’s sophomore LP—deeper social narratives and more intimate subject matters are more apparent. In which they speak a lot about ‘tanah’ or ‘land/soil,’ owing a lot to the fact that their hometown, Jatiwangi’s history of being the country’s largest producer of clay/terracotta-based products. The people in Jatiwangi’s intertwining relationship with ‘tanah’ is simply unparalleled—even their instruments are mostly made of terracotta.

From the reimagining of their hometown’s past glories, Lair, along with singer/songwriter Monica Hapsari (who co-wrote and co-composed three songs in the album) and Go Kurosawa (Kikagaku Moyo) helming the project as the producer, sings about the rituals and traditions of harvest, to sending off prayers towards their once-prospering land and the ruins of what was once a dense forest in Jatiwangi, which they are currently trying to reclaim while racing with the massive wave of industrialisation. It is a contextually-sorrowful album as much as it is a candid, cheery commemoration of the band members’ everyday life in today’s northern shores of Java, Indonesia.

Ngélar is one of the words that might be able to describe the essence of Lair as a group. The word itself can be traced back to the locals’ culture of ‘going around in celebration of something.’ In their village, ngélar simply means a traveling performance, in which the performers would play music and go around the village, greeting the people around them as they move from place to place, or simply within their immediate surroundings, indicating that there is something nearby that is being celebrated.

Lair is simply in love with ‘journey,’ ‘time,’ and all of their interactions. Ngélar, for them, is a representation of their journey. How they go around, interacting and communicating, to celebrating and making sense of everything that is going on within and around them. For Lair, Ngélar is a method, a creative process, and—as an album—a culmination of each of their journeys since the group’s founding.

Hold your body and mind belts, and immerse yourself into a cornerstone of cosmic music in a double remastered vinyl - one them filled with rarities - called "Crystal Machine" by the visionary Tim Blake, English composer and synthesizer master. Recorded in 1976/7, it remains echoing as a timeless effort, pretty much still alive. This is a deadly serious art piece, accordingly trippy in all its aspects, full of strangeness and sheer beauty.

Modern day Amsterdam is a bit of an oxymoron. On the one hand, the city proudly brandishes its reputation for alternative and sub cultures, pushing back against lawmakers and their incoherent policies to adopt approaches that are more realistic and levelheaded. On the other, its a place of such rampant commercial development the local government actively discourages visitors and new hotel developments. Look closely, though, and you can still feel the spirit of what, during the latter half of the 20th Century, made this place so special. Paradiso is one of those spots. A waterside cultural venue with a history first as a church, then an illegal squat, before becoming what it is today, the walls themselves seem to pervade a sense of brave, adventurous heritage. An ideal place to catch one of the most defining bands of the 1980s in their heyday, then, here Depeche Mode deliver an astounding set in a space with the atmosphere to match.

Psychedelic, funky hard-rock with plenty of distorted guitar and Hammond by this “supergroup” created by legendary producer Shel Talmy and featuring some of the best session musicians from the UK: Herbie Flowers (bass), Alan Parker (guitar), Clem Cattini (drums), Alan Hawkshaw (keyboards) plus Peter Lee Sterling (Daniel Boone!) on powerful vocals.

This is their first album from 1970, originally released in the UK, Europe and the US, now officially reissued on vinyl for the first time, faithful to the original UK edition with the effects between songs and the lavish gatefold sleeve (both omitted on the US one).

Riyl: Led Zeppelin, Ugly Custard, Hungry Wolf, Black Cat Bones, Atomic Rooster…

*Original UK artwork in gatefold sleeve *Sourced from the original master tapes *Insert with liner notes by Alec Palao and rare photos / memorabilia

Soul Jazz Records Deutsche Elektronische Music Volume 2 is now available as two separate double LPs for the first time in over 10 years! Soul Jazz Records' 'Deutsche Elektronische Musik 2' is their second voyage into the world of Krautrock and German electronic music from the 1970s and early 1980s. Features a stunning line-up of seminal German groups, including Can, Faust, Popul Vuh, Neu!, Cluster, Amon Düül II, La Düsseldorf, as well as a host of lesser known and more obscure groups and artists such as Agitation Free, Bröselmaschine, Niagara and many more.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching. We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

180 gram pressing!