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8th Vinyl, CD & Tape 41 Items

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Ramones - Road To Ruin Colored Vinyl Edition
Ramones
Road To Ruin Colored Vinyl Edition
LP | 1978 | US | Reissue (8th)
22,49 €* 24,99 € -10%
Release:1978 / US – Reissue
Genre:Rock / Indie
1977, considered by many to be the height of the punk rock genre of music, saw the release of one the greatest albums from New York legends The Ramones; Rocket To Russia. It featured the band's most polished production and sound quality to date, and was a smash success among critics. In spite of all of this, the album was not financially successful, and was largely lost in the mix of the numerous other punk bands that had formed in their wake. The supposed failure of Rocket To Russia would drive longtime drummer Tommy Ramone to leave the band, also citing stress and depression from touring.

Determined to achieve some form of commercial success, The Ramones returned to the studio in the summer of 1978 with new drummer Marky Ramone, (Marc Bell, of Richard Hell & The Voidoids.) and producer Ed Stasium. (Along with Tommy Ramone, who stuck around to help produce.) The end result was released in the fall of the same year, and bore the title Road To Ruin. The album stood out among The Ramones' discography with its addition of guitar solos, acoustic guitars, and ballads, reflecting the band's interest in expanding their sound, and desire for mainstream acceptance.

Road To Ruin was a gamble for the Ramones which initially backfired. The album was not a commercial success despite managing to reach the Billboard 200 charts, it was released to muted critical reception, and their own fanbase looked upon the bid for mainstream appeal with incredulousness. As time went by, Road To Ruin was subject to renewed critical appeal, with retrospective reviews praising the material as a campy punk gem. Road To Ruin is also noteworthy for the inclusion of the track "I Wanna Be Sedated", which became not just a signature song for the band, but a staple classic of punk rock itself.
David Lee Roth - Skyscraper
David Lee Roth
Skyscraper
LP | 1988 | US | Reissue (8th)
9,19 €* 22,99 € -60%
Release:1988 / US – Reissue
Genre:Rock / Indie
Though the classic hard rock band Van Halen had
reached massive heights of commercial success with
their 6th album 1984, a creative rift had formed
between the band and their frontman David Lee Roth,
who resented the more pop-friendly direction the band
was gravitating towards, preferring the band stick to
the hard rock they came up with. This tension would
lead to Roth breaking away from the band to engage
on a solo career, achieving commercial and
critical success in 1986 with his solo debut
Eat 'Em And Smile.
Fans of Roth's rock purism, who had followed him into
his solo career on the promises of keeping his sound
hard would be taken aback with his follow up, 1988's
Skyscraper. While Roth had criticized Van Halen for
an over-reliance on synthesizers, Roth himself would
add synth-player Brett Tuggle to his backing band
for Skyscraper, which lead to a distinctly more
psychedelic, and dreamy atmosphere.
In spite of going back on his promise of hard rock,
Skyscraper turned out to be another success for Roth,
selling over 2 million copies in the US, and rendering
the Billboard Top 40 hit "Just Like Paradise". It would
also be the linchpin for the solo career of guitar
virtuoso Steve Vai, who at the time was a member
of Roth's solo backing band. Though a commercial hit,
it would also mark the beginning of the end for Roth's
solo career; the hard rock vocalist wouldn't achieve
any major sales success again until re-joining Van
Halen in 2007.
Terry Riley - A Rainbow In Curved Air
Terry Riley
A Rainbow In Curved Air
LP | 1969 | US | Reissue (8th)
26,99 €*
Release:1969 / US – Reissue
Genre:Electronic / Dance
Experimental composer Terry Riley may have got his
start playing in piano bars, and writing pattern pieces
for jazz ensembles, his greatest impact was upon the
world of electronic music. In particular, his third
album: 1969's A Rainbow In Curved Air. The 40+
minute record is an odyssey of improvised
experimental sounds, prominently featuring
jazz-inspired modal scales and cues from Indian
classical music. (Riley had made frequent trips to
India in his youth and fell in love with the country.)
Through the usage of then-revolutionary overdubbing
and tape-looping techniques, Riley was also able to
perform every instrument himself on the record,
including electric organs, electric harpsichords, a
soprano saxophone, and an Indian dumbec.
A Rainbow In Curved Air was a revelation to critics,
who heaped praise upon Riley, who had in essence
invented minimalism as a music genre. The record
has been cited as a major influence on the likes
of Phillip Glass, Brian Eno, Arthur Russell, Mike
Oldfield, Giorgio Moroder, and numerous others,
while the distinctly patterned organ lines of The
Who's "Won't Get Fooled Again" and "Baba O'Riley"
were directly inspired by Riley's piece. The repetitious
minimalism of Rainbow also was integral to the
development of future genres, such as ambient, jazz
fusion, new age, progressive rock, and future
varieties of electronic music. More than just a
revolutionary record, Rainbow also represented one
final burst of sunny, utopian energy, as the dark and
dreary 1970s loomed overhead.
Curtis Mayfield - Curtis
Violinaires - Groovin' With Jesus
Violinaires
Groovin' With Jesus
LP | 1971 | US | Reissue (8th)
20,39 €* 23,99 € -15%
Release:1971 / US – Reissue
Genre:Organic Grooves
A group that at one point had
Wilson Pickett among their ranks, The
Violinaires have been a staple of gospel
music since the 1950s. During this time
the group cut over 25 full-length albums
blending spiritual themes and zeal
direct from their churches with a secular
soul sound. 1973's Groovin' With Jesus
is one such album, which found The
Violinaires toying with Aretha
Franklin-style gospel-funk. Features
soulful covers of tracks by Galt
MacDermot, George Harrison, and
various others, with a distinctly
religious twist.
Rick James - Street Songs
Rick James
Street Songs
LP | 1981 | US | Reissue (8th)
28,99 €*
Release:1981 / US – Reissue
Genre:Organic Grooves
In light of soul singer-songwriter Rick James' wild and
controversial behavior during his career, it's easy
to forget that he wrote some vastly successful and
celebrated music. Nowadays he's best remembered for
a famous and celebrated sketch from the TV show
Chapelle's Show, or for his various arrests for drug
charges, but during late-1970s and 1980s he was a
powerhouse of his genre.
The nadir of this success was undoubtedly James' fifth
album. He was already a gold-selling funk/soul artist
with multiple Top 40 hits under his belt, but 1981's
Street Songs was the album that broke him into the
mainstream. The album took the smooth, swaggering
sound that he had built his career upon, and fused it
elements of rock and new wave, into a sound that
James dubbed "funk punk." It even featured vocal
backing from The Temptations, and a harmonica solo
from Stevie Wonder.
Street Sounds was an immediate commercial hit,
reaching #3 on the Billboard Pop charts, reaching
platinum status, selling over a million copies. In addition
to various Grammy nominations, Street Sounds also
produced major chart hits in tracks like "Give It To Me
Baby", "Ghetto Life", and what would become his
most successful signature song; "Super Freak",
which peaked at #16 on the US Pop Charts, and
was famously sampled by MC Hammer for his
mega-hit "U Can't Touch This." It caught the attention of
publications as well, who heaped critical praise upon
the album, even netting a rare A- grade from noted rock
music curmudgeon Robert Christgau.
Isaac Hayes - The Isaac Hayes Movement
Prince - The Most Beautiful Girl In The World
Prince
The Most Beautiful Girl In The World
12" | 1970 | US | Reissue (8th)
10,49 €* 14,99 € -30%
Release:1970 / US – Reissue
Genre:Pop
By the mid-90s, Prince Rogers (Known colloquially by his eponymous stage name Prince) and Warner Brothers Records were on very shaky terms. The influential pop singer/songwriter had clashed with his longtime label over various rights issues, but it was their refusal to release Prince's music at a frequent clip that made him search for an exit. Though he was contractually beholden to Warner Brothers, he fulfilled his obligation by releasing B-sides and discarded material to the label under his Prince moniker, while putting the music he wanted to put out under the name "The Artist", represented by an unpronouncable symbol. This bucking of the system would be put to a test in 1994, when simultaneous albums by both Prince (Under Warner Brothers) and The Artist (Under Prince's own imprint NPG) would see release; Come, under Prince's name, and The Gold Experience, under The Artist's. Prince's plan, ostensibly to entice people away from Warner Brothers (Which was releasing sub-par Prince material) to his own independent releases, seemed to work when The Gold Experience reached critical and commercial acclaim, while Come received mixed-to-middling response.
Much of The Gold Experience's success can be attributed
to its lead single, the track "The Most Beautiful Girl In The
World". The single, which fused R&B, soft-rock, and
Prince's own funk-pop stylings, showed that "The Artist"
could find commercial success without having to rely on
his old title. And "The Most Beautiful Girl In The World"
was indeed commercially successful, reaching #3
on the Billboard Hot 100, and would become his
only #1 UK Single
Mad Lads, The - In Action
Mad Lads, The
In Action
LP | 1995 | US | Reissue (8th)
10,79 €* 23,99 € -55%
Release:1995 / US – Reissue
Genre:Organic Grooves
The talent of the Mad Lads is undeniable, the Stax organization signed these Memphis natives while the members were still in high school. Their doo-wop inspired harmonies meshed brilliantly with Stax's sensibilities, and netted the group a number of R&B hits, including classics such as "Don't Have To Shop Around" and "I Want Someone." Despite their success on the R&B charts, the group would never connect with a pop audience, and largely a cult act until their disbanding in 1969. In Action is a definitive collection of The Mad Lads' creative output, featuring all their major singles, including their signature songs "Don't Have To Shop Around" and "I Want Someone", and their distinct takes on contemporary hits like "Land Of 1000 Dances" and "Sugar Sugar", among others. Bolstered by lead John Gary Williams' pleading croon, In Action may have been one of the only Southern doo-wop records to have existed, and proved a minor success for the group, reaching #93 on the Billboard 200 sales charts.
Harvey Averne Dozen - Viva Soul
Harvey Averne Dozen
Viva Soul
LP | 1968 | US | Reissue (8th)
25,99 €*
Release:1968 / US – Reissue
Genre:Reggae / Dancehall
Despite maintaining an strong following among
the New York Latin music scene of the late-60s
and early-70s, and a reputation as a prolific
songwriter for contemporaries like Eddie Palmieri
and Ray Barretto, bandleader and vibraphonist
Harvey Averne never reached high heights of
success during his short-lived recording career.
He would achieve greater things as the head of
the legendary Latin label Coco Records, but as a
recording artist Averne languished in obscurity,
apart from having penned the Latin club classic
"Never Learned To Dance", while peers like
Ralfi Pagan and Rubén Blades found increased
popularity on a wider scale.
This is unfortunate, as Harvey Averne's
discography contains some truly remarkable
examples of top-tier salsa, chicano rock, and
boogaloo records. Chief among them being
1971's Viva Soul, which contained the famed
track "Never Learned To Dance", as well as 11
other pieces, featuring punching stacatto brass,
frantic electric pianos, and some truly funky Latin
takes on songs by The Beatles and Little Anthony
& The Imperials, among many others. Though
Averne's recording career never flourished, Viva
Soul has rightly become a highly sought-after
piece of vinyl, and his discography a treasure
trove for collectors.
Elvin Jones - Illumination
Elvin Jones
Illumination
LP | 1964 | US | Reissue (8th)
29,99 €*
Release:1964 / US – Reissue
Genre:Organic Grooves
Elvin Jones' connection to the John Coltrane
Quartet is inescapable, but it shouldn't be the only
defining feature of his career. After all, Jones
expanded the role of the jazz percussionist in the
post-bop era, and helped bridge the gap to more
avant-garde styles of drumming through his
virtuostic style. This style continued to develop
and grow after departing the Coltrane Quartet
(Due to displeasure over Coltrane's addition of a
second drummer) and going solo.
Before his departure however, Jones was already
a prolific figure in his own rite, having already
performed with the likes of Miles Davis and
Charles Mingus long before even connecting with
John Coltrane. He also regularly collaborated with
bassist and fellow Coltrane Quintet compatriot
Jimmy Garrison, forming the recording collective
the Elvin Jones/Jimmy Garrison Sextet, recording
several albums together. 1964's Illumination! was
one such album, which featured the rhythm
section pair joined by McCoy Tyner, also from the
Coltrane Quintet, on piano, as well as strong
session turns from Sonny Simmons
(Alto Sax/English Horn), Charles Davis
(Bari Sax), and William Lasha (Clarinet/Flute).
A highly sought after set of advanced hard
bop, featuring some of Jones' most powerful
percussion chops.
Harry Partch - Delusion Of Fury
Harry Partch
Delusion Of Fury
2LP | 1969 | US | Reissue (8th)
33,99 €*
Release:1969 / US – Reissue
Genre:Classical Music
A composer, a theorist, and an innovator, Harry Partch
stands out among so many other American classical artists
as one of the most eccentric. He notably rejected the
tradition of composers like Beethoven and Bach for a lack of
theatricality and drama, and took his greatest inspirations
from Eastern Noh theater, frequently incorporating speech
and dance into his pieces, as well as requiring participants
to perform multiple parts. His theories reflected this
dismissal, which sought to return musical tradition to those
of the pre-Classical era, with a heavy focus on microtonality,
and octave intervals beyond what was traditionally utilized.
Many of the pieces he composed would prominently feature
instruments of his own invention, including heavily modified
string instruments, mallet instruments, and pipe organs.
Over the course of his life, Partch released a number of
records, soundtracked numerous films by Madeline
Tourtelot, and wrote the highly influential text Genesis Of A
Music, which would introduce his theories to a
contemporary audience, and inspire fellow avant-garde
composers as Lou Harrison, Ben Johnston, James Tenney,
and even the famed experimental collective The Residents.
One of his most famed works was the stage play Delusion
Of The Fury, a piece of performance art based upon the
Japanese Noh drama Atsumori, while also taking cues from
Ethiopian folk tales, Shakespearean tragedy, and ancient
Greek traditions. Delusion Of The Fury is looked back
upon by critics and historians as one of Partch's seminal
works, making heavy use of his signature micro-tonal
compositional style, as well as many of his own invented
instruments. It is considered his confrontation with his own
anger towards a world that frequently rejected him, and
dealt him hardship. The play first premiered at the UCLA
Playhouse in 1969, whereupon it was recorded by Columbia
Records, and presented in a double LP format.
Blowfly - Blowfly's Zodiac Party
Blowfly
Blowfly's Zodiac Party
LP | 1978 | US | Reissue (8th)
21,99 €*
Release:1978 / US – Reissue
Genre:Organic Grooves
Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as a
singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a sampling
favorite of KRS-One, Erykah Badu, DMX, and more. Though
Reid maintained a reputation as a consummate professional
among the romantic soul crowd, outside of his day-job he turned
a complete 180, writing and performing humorous, deliberately
raunchy and sexually-explicit parodies of songs. These parodies
would be relegated strictly to friends at parties, and wouldn't see
a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
1978 saw the release of Blowfly's Zodiac Party, a loosely defined
concept album which framed Reid's explicit renditions around the
theme of the Greek Zodiac symbols. Reid had already covered
this topic earlier on the similarly titled Blowfly Zodiac, but Zodiac
Party differentiates itself from its lack of parodies, instead placing
Reid in the center of a raucous shindig with his backing band,
schmoozing effortlessly with excited partygoers, curious to know
their signs. It's a singularly surreal entry in the parodist's catalog,
but a no less entertaining 70s party record.
Blowfly - Disco
Blowfly
Disco
LP | 1977 | US | Reissue (8th)
21,99 €*
Release:1977 / US – Reissue
Genre:Organic Grooves
Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as a
singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a sampling
favorite of KRS-One, Erykah Badu, DMX, and more. Though
Reid maintained a reputation as a consummate professional
among the romantic soul crowd, outside of his day-job he turned
a complete 180, writing and performing humorous, deliberately
raunchy and sexually-explicit parodies of songs. These parodies
would be relegated strictly to friends at parties, and wouldn't see
a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
In 1977, after recording parody after parody of the classic
soul music which gave him his start, Reid took the next logical
step, and turned his gaze towards disco, a genre of music which
was already seedy and raunchy enough without adding his own
stylistic take on it. It was a perfect match for Blowfly. The resulting
album was simply titled Disco, and featured significantly
increased production values, a more polished sound, and the
addition of string sections and backing choruses. Featuring Reid's
explicit takes on tracks by B.T. Express, Chic, The Isley Brothers,
and even Frankie Valli.
Don Byrd & Gigi Gryce - Jazz Lab
Don Byrd & Gigi Gryce
Jazz Lab
LP | 1957 | US | Reissue (8th)
23,99 €*
Release:1957 / US – Reissue
Genre:Organic Grooves
The career of hard bop saxophonist Gigi Gryce may
have been short, but it was one filled with
innovation and left a remarkable legacy. Before a
series of financial issues with his publishing
companies forced him out of the music industry, he
lead the way in early usage of quartal harmony,
which would become a standard during the era of
cool jazz, and regularly utilized unorthodox forms of
harmonization, instrumentation, and meter,which
regularly walked the line between experimental
and contemporary. Compositions of Gryce's such
as "Minority", "Nica's Tempo", and "Up In
Quincy's Place" have become minor jazz
standards, and are considered indispensible
parts of the bebop era of jazz.
During his short career, Gigi Gryce would work with
an array of legends such as Charlie Parker, Art
Blakey, Benny Golson, and in 1957, trumpeter and
band-leader Donald Byrd. The two got together with
pianist Tommy Flanagan, bassist Wendell Marshall,
and drummer Art Taylor as backing to produce
seven cuts of smoothly textured hard bop, under
the banner of Jazz Lab. The resulting record proved
to be an exceptional critical hit, and is now
considered a paragon of the subgenre, and a more
than worthy introduction to hard bop.
Head Shop - The Head Shop
Head Shop
The Head Shop
LP | 2018 | US | Original (8th)
21,74 €* 28,99 € -25%
Release:2018 / US – Original
Genre:Rock / Indie
In an industry filled with eccentric and enigmatic
figures, few are as mysterious as the producer/
songwriter/performer Milan Radenkovic, best known
by his mononymous title Milan, The Leather Boy. A
character described as so stylized he could have been
created by Andy Warhol, Milan was a fixture of garage
and psychedelic rock production despite never
attaining a commercial hit, and despite very little being
known about him. In spite of the confusion surrounding
his background (Or as a result of it, more likely.)
Milan has entered music history as one of the
great anomalies of the industry, and singles and
albums that he has either performed on, wrote for, or
produced have often sold for high prices on the record
collectors' market.
The Head Shop is one such project. An otherwise
obscure New York garage rock unit that would release
a single, self-titled album, one that would become
among the final projects that Milan worked on before
his early death from brain cancer. A sparse and
dystopian affair, The Head Shop is an acid trip of a
garage album, featuring heavily layered psychedelic
fuzz dementedly fused with spacious, and
agoraphobic arrangements, with the intent of merging
then-modern music with those of experimental
classical sounds. As expected, the album was far too
bizarre for contemporary audiences, but it became
enormously sought after among crate diggers,
and stands out as one of the stranger productions
of the 1960s.
Joe Byrd & The Field Hippies - The American Metaphysical Circus
Joe Byrd & The Field Hippies
The American Metaphysical Circus
LP | 1969 | US | Reissue (8th)
26,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
The United States Of America was not a commercially
successful music group, releasing only one studio album and
then immediately breaking up, but the depth of their influence
in the music scene could not be understated. More an
avant-garde project of experimental sounds and radical
politics, the band were early innovators of electronic
instrumentation, and were major inspirations to acts like
Portishead, Broadcast, and Dan Deacon. At the helm of this
group was the eccentric experimental composer Joseph Byrd,
(Dubbed Joe Byrd by Columbia Records, deciding that no rock
musician could be named 'Joseph.') who had got his start in
the Fluxus community of artistic experimentation, engaging in
early collaborations with Yoko Ono.
Though his band The United States Of America failed to catch
on with a wide audience, their lone record caught the attention
and support of Columbia Records producer John McClure,
who encouraged Joe Byrd to compose a follow-up. Byrd would
gather an extended group of West Coast musicians and
performers, among them famed session musicians Ted
Greene on guitar, Tom Scott on saxophone, and even narration
from radio personality Ernie "Ghouliardi" Anderson. Byrd would
dub this collective The Field Hippies, and with them produced
a three-part, politically-charged acid rock suite titled
The American Metaphysical Circus.
Though once again major commercial success eluded Joe
Byrd, his 2nd project became every bit as influential as The
United States Of America had. The American Metaphysical
Circus proved to be an early adaptor of synthesizers and
vocoders, and received high praise for its combining of
brass-heavy psych-rock arrangements with experimental
sound techniques in tape delays, loops, backwards vocals,
and other recording tricks.
Men Without Hats - Rhythm Of Youth
Men Without Hats
Rhythm Of Youth
LP | 1983 | US | Reissue (8th)
21,99 €*
Release:1983 / US – Reissue
Genre:Pop
There are a number of different explanations
behind the meaning of Canadian new wave group
Men Without Hats' 1983 hit "The Safety Dance."
People have posited the song could be referring to
safe sex, nuclear proliferation, but singer Ivan
Doroschuk has explained the track to be about
freedom of expression. More specifically "Safety
Dance" came about as a protest against dance club
bouncers. Unfamiliar with the styles of new wave
dance, they would regularly toss patrons out for
engaging in pogoing, a dance that involves jumping
up and down while keeping the torso rigid.
Regardless of the meaning behind the song, "The
Safety Dance" became a major hit for Men Without
Hats, reaching #11 on the Canadian Singles chart,
only to reach an even higher #3 on the Billboard Hot
100 chart upon its release in America. The success
of "Safety Dance" undoubtedly aided the
commercial fortunes of the band's 1983 debut,
Rhythm Of Youth, whose other dance club singles
such as the bounding "I Got The Message", or the
driving "I Like" were nothing to ignore either. One of
the quirkier synth-pop albums released during
an already quirky period for music, and a high
watermark for new wave, if only for the staying
power of "Safety Dance."
Blowfly - Blowfly's Disco Party
Blowfly
Blowfly's Disco Party
LP | 2018 | US | Reissue (8th)
21,99 €*
Release:2018 / US – Reissue
Genre:Organic Grooves
Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as
a singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a
sampling favorite of KRS-One, Erykah Badu, DMX, and more.
Though Reid maintained a reputation as a consummate
professional among the romantic soul crowd, outside of
his day-job he turned a complete 180, writing and performing
humorous, deliberately raunchy and sexually-explicit parodies of
songs. These parodies would be relegated strictly to friends at
parties, and wouldn't see a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
1978's Blowfly's Disco Party was no less lewd than its
predecessors, putting a funky-disco spin on Reid's signature
blend of explicit parodies, and deliberately cheeky tracks. No
track is safe from Reid's dirty lyrics, as he parodies classic
Motown hits, Delta blues songs, and even his own discography.
(His naughty spin on his own deep soul hit "Nobody But You,
Babe", becomes "Nobody's Butt But Yours, Babe".)
Hollies - Evolution
Hollies
Evolution
LP | 2018 | US | Reissue (8th)
28,99 €*
Release:2018 / US – Reissue
Genre:Rock / Indie
Before forming one of the first major rock n' roll supergroups in
Crosby, Stills, & Nash, British singer-songwriter Graham Nash
was a founding member of Manchester, England pop group
The Hollies with Allan Clarke. Considerably popular throughout
the decades, (Having over 60 singles charting worldwide
over the course of the band's career) The Hollies were also
noteworthy for their pioneering usage of three-part vocal
harmonies, the early elements of jangle-pop in their sound,
and emphasis on bright, hook-heavy melodies. Along with The
Beatles, The Kinks, The Zombies, and so many other 60s
groups, The Hollies were an integral part of the famed British
Invasion which introduced the British sound to America, and
like their contemporaries The Rolling Stones, never disbanded
and continue to tour to this day.
In 1967, the Hollies had accrued a number of hit singles
with their classic 60s pop sound, but the sounds of the era
had begun to move in a decidedly more spacious direction.
Wanting to give their take on the psychedelic movement, the
band convened and recorded Evolution with new bassist
Bernie Calvert, and session appearances from Elton John on
keys, and Mitch Mitchell of The Jimi Hendrix Experience and
Clem Cattini of The Tornados on drums.
Evolution was not the hit that previous Hollies albums had
been, but it still went on to produce several hit singles,
particularly the US version, which came bundled with the
Billboard Top 40 hit "Carrie-Anne." Though Evolution was not a
resounding commercial success, it is considered by many to
be a classic of the psychedelic era, and often compared
favorably to The Beatles' psych-classic Sgt. Pepper's Lonely
Heart's Club Band, released a week earlier. Meanwhile among
Hollies fans it's considered one of their strongest, and an
underdog among their more pop-centric records.
Little Beaver - Black Rhapsody
Little Beaver
Black Rhapsody
LP | 1974 | US | Reissue (8th)
21,59 €* 26,99 € -20%
Release:1974 / US – Reissue
Genre:Organic Grooves
A prodigious guitarist at an early age, Willie George
Hale earned the nickname "Little Beaver" from
friends in family in Arkansas, remarking on his
prominent teeth. Over the years Hale would make a
name for himself as a reliable session guitarist,
appearing on recordings by Betty Wright, Al
Kooper, and Blowfly, and gradually developing his
own distinct, rhythmic style of blues guitar playing.
As the mid-70s approached Hale would embark on
his own solo career, cutting albums and singles with
Florida's TK Records, working alongside famed
musicians like Jaco Pastorius, Benny Latimore, and
Timmy Thomas. His career effectively ended in the
1980s with TK's collapse, but he would find new life
in 2003 after performing on several Joss Stone
albums, and his works would be sampled in hip-hop
tunes by the likes of Jay-Z, Slum Village, and
People Under The Stairs.
Not long after his solo debut in 1972, Hale released
the sophomore album Black Rhapsody, which did
away with the vocals so Hale could put his own
blues guitar chops at the front. Black Rhapsody
featured a slew of original deep funk jams from
Hale, as well as his own soulful spins on songs by
Al Green, The Temptations, The Jackson 5, and
even George Gershwin. A rare gem of 70s funk,
famously featuring the track "A Tribute To Wes",
which beatsmith J Dilla would sample to great effect
on the Slum Village track "Conant Gardens."
Cars - Greatest Hits
Cars
Greatest Hits
LP | 2018 | US | Original (8th)
21,59 €* 26,99 € -20%
Release:2018 / US – Original
Genre:Rock / Indie
Being re-released now on CD, the 1988
classic... Royal House “Can You Party?”,
the ultimate old school house album.
Featuring the hits “Can You Party?”, “A
Better Way”, “Party People” and “Yeah
Buddy”. This double CD features a bonus
disc containing all the extended 12” mixes
that have been long out of print and are
extremely rare, plus four more classic
tracks from the vaults. This release is
perfect those seeking the classic NY
House flavor of the past as well as the new
generation of DJ’s now playing CD’s/MP3’s
instead of vinyl. This reissue is an essential
landmark recording.
Preservation Hall Jazz Band - New Orleans Volume I
Preservation Hall Jazz Band
New Orleans Volume I
LP | 2018 | US | Original (8th)
14,39 €* 31,99 € -55%
Release:2018 / US – Original
Genre:Organic Grooves
From its humble beginnings as an art gallery in the 1950s,
Preservation Hall has become an indelible landmark
of New Orleans thanks to a choice meeting in 1961.
Philadelphia business school graduate and tuba-player
Allan Jaffe had been honeymooning in New Orleans with
his wife when he discovered the French Quarter, where
Preservation Hall resided. The couple grew to love the
French Quarter and the concerts that the hall had been
hosting to drum up interest in the art gallery.
Allan Jaffe ended up staying in New Orleans, and even
took on the job of managing Preservation Hall, and
hosting a cavalcade of local Louisiana musicians, whose
ages ranged from 60 to 90, and had been dealing with
poverty and local racism. These musicians, along
with Jaffe himself, would become the rotating lineup
of Preservation Hall's house jazz band, and attract
audiences for miles to come to the French Quarter to hear
their traditional take on jazz music, eventually branching
out to tour the United States, and put out records.
One of their most celebrated is their first album with
Columbia Records, the 1977 album New Orleans (Vol. 1),
which with a title like that it's no surprise that it wears its
love for the Louisiana city on its sleeve. The 7-piece band
joyously shares its take on a vareity of Dixieland
standards, spirituals, and a few blues numbers. The
music is simplistic and light on technical or virtuostic flair,
but none of that matters to the album's players, whose
infectious and revelrous spirit, and genuine love of
traditional jazz can be felt through the speakers.
Tom Waits & Crystal Gayle - One From The Heart
Tom Waits & Crystal Gayle
One From The Heart
LP | 1982 | US | Reissue (8th)
27,19 €* 33,99 € -20%
Release:1982 / US – Reissue
Genre:Rock / Indie
Tom Waits is a highly influential singer/songwriter,
noteworthy for delving into realms of noisy industrial blues
experimentation, blues jazz, and dust, rust-belt folk, as well
as for his distinct, heavily raspy vocal style. Crystal Gayle is
a Top 40 country artist, with more than fifteen #1 singles on
the Billboard US Country charts, including her #2 Billboard
Top 200 signature hit "Don't It Make My Brown Eyes Blue",
and a member of the Grand Ole Opry.
By all accounts there's little reason for these two vastly
different artists to come together and collaborate on an
album. Yet in 1982, the two were brought together to write
and perform on the soundtrack to Francis Ford Coppola's
1982 romantic musical film One From The Heart. The
soundtrack was written by Waits himself, who also sang and
played piano, while Gayle (Whom Waits had picked himself,
after Bette Midler was unavailable.) provided vocals on
several solo songs as well as duets with Waits, all backed by
a cavalcade of jazz session veterans, like Jack Sheldon on
trombone, Shelly Manne on percussion, Greg Cohen on
bass, Teddy Edwards on tenor saxophone, and more.
Though the film One From The Heart was a box office flop,
the Waits & Gayle-featured soundtrack was embraced by
critics, many of whom pointed to it as the best thing
associated with the film. Recorded just before Waits
abandoned jazz-blues for the junkyard clamor of his 1983
album Swordfishtrombones, Waits' ragged baritone is mixed
with Gayle's silky croon to perfect effect, and makes One
From The Heart's soundtrack a must-own for any fan of film
soundtracks, cinematic jazz, and certainly of Waits & Gayle
Joe Walsh - But Seriously, Folks
Joe Walsh
But Seriously, Folks
LP | 1978 | US | Reissue (8th)
17,99 €* 23,99 € -25%
Release:1978 / US – Reissue
Genre:Rock / Indie
The classic rock band The Eagles were already
immensely successful by the time 1975 hit, having scored
multiple Billboard-charting albums, numerous Top 40
singles, and had even won a "Best Pop Performance"
Grammy. Despite this, many fans of the band believe that
they had not truly hit their stride until the next year, when
founding member Bernie Leadon exited the group. His
replacement was singer/guitarist Joe Walsh, a longtime
friend of the band, a former member of contemporary
groups James Gang and Barnstorm, and a solo artist in
his own rite, who brought a harder edge to The Eagles
which took front and center of their greatest success: the
multi-million-selling 1976 album Hotel California.
Joe Walsh would continue to release solo works before
the Eagles' follow-up to Hotel California in 1979, keeping
busy with live and studio releases, and further bolstering
his own commercial success. 1978 would see the release
of his fourth album, and one of his greatest successes of
the 1970s, titled But Seriously, Folks...The album reached
#8 on the Billboard 200 charts, featured contributions
from his fellow Eagles bandmates Don Henley, Glenn
Frey, and Don Felder, and received wide critical praise for
its subject matter. Walsh had previously cultivated a
reputation for playful irreverence and a surreal sense of
humor, yet But Seriously, Folks...featured introspective,
melancholy, and existential tracks that were considered
out of character, and still found time for the caustically
sarcastic Top 10 single "Life's Been Good", which
bitterly takes the piss out of the partying rock-star image
he'd cultivated.
Blowfly - The Weird World Of Blowfly
Blowfly
The Weird World Of Blowfly
LP | 1973 | US | Reissue (8th)
21,99 €*
Release:1973 / US – Reissue
Genre:Organic Grooves
Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as
a singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a
sampling favorite of KRS-One, Erykah Badu, DMX, and more.
Though Reid maintained a reputation as a consummate
professional among the romantic soul crowd, outside of
his day-job he turned a complete 180, writing and performing
humorous, deliberately raunchy and sexually-explicit parodies of
songs. These parodies would be relegated strictly to friends at
parties, and wouldn't see a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
The beginning of this explicit journey started with the debut album
The Weird World Of Blowfly. Across 16 tracks Reid and his
collective of session musicians would turn classic soul and R&B
hits by the likes of James Brown, Otis Redding, and Sam & Dave,
and twist them into bluntly graphic parodies, regularly diving
headlong into realms sexual, scatological, beyond naughty.
Willie Nelson - Phases & Stages
Willie Nelson
Phases & Stages
LP | 1975 | US | Reissue (8th)
26,99 €*
Release:1975 / US – Reissue
Genre:Rock / Indie
By the 1970s, country music legend Willie Nelson was stuck in a rut. The royalties he had earned from songwriting had dried up, his own material was no longer seeing great commercial profits, and the Nashville music scene he'd thrived in had rejected his concept album Yesterday's Wine. Compounded with a series of other personal events, this lack of success led Nelson to leave the music business, and retreat to Austin, Texas. Despite his original intent to remain retired, Austin's burgeoning hippie music scene instead revitalized Nelson, and he experienced newfound popularity after performing a new brand of country music, marked by folk and jazz influences as well as traditional country. Nelson returned to recording soon after, signing to Atlantic Records, where he was the first ever country artist on the label. With greater creative control than he had before, he gathered a backing band and went to work. Nelson had already began to stretch out artistically with his previous album, 1973's Shotgun Willie, and though the album was only moderately successful, (Despite setting the stage for the arrival of the Outlaw Country genre of music) it was enough to keep Atlantic interested. Nelson's 1974 record Phases And Stages was another artistic leap, in the form of another concept album about divorce, splitting the two sides between the perspective of a wife and a husband. Though the album was still a far cry from his earliest hit-making days, it was still a Billboard-charter, containing the #17-ranking single "Bloody Mary Morning", and received widespread praise from critics, who continued to embrace Nelson's darker output. A pivotal album that helped put Willie back in the public eye, and foresaw one of his greatest successes in 1975.
King Floyd - King Floyd
King Floyd
King Floyd
LP | 1971 | US | Reissue (8th)
30,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
New Orleans singer-songwriter King Floyd may not have reached the heights of commercial success that his contemporary soul-R&B performers had, but the mark he left with his music is indelible, if only for the prevalence and success of his 1970 single "Groove Me." Originally written as a love poem for a co-worker, Floyd instead brought the lyrics to famed producer/arranger Wardell Quezergue, who was fresh from producing another iconic piece of New Orleans soul: Jean Knight's "Mr. Big Stuff." "Groove Me" was originally included as a B-side to another Floyd track, "What Our Love Needs". While the A-side failed to generate major commerical buzz, "Groove Me" became a local radio smash thanks to the efforts of New Orleans DJs, and attraced enough attention to be picked up for national distribution, where the track became a hit on the Billboard rankings, peaking at number 6 on the pop charts. Though King Floyd would never have nearly as big a hit in his career, the staying power of "Groove Me" has long outlasted the singer/songwriter. It has been covered by artists as varied as Etta James, Fern Kinney, John Cowan, and the Blues Brothers, while finding sample usage in tracks by Public Enemy, LL Cool J, Cam'Ron, Salt-N-Peppa, and even experimental noise weirdos Negativland.
Miles Davis - My Funny Valentine
Miles Davis
My Funny Valentine
LP | 1964 | US | Reissue (8th)
30,99 €*
Release:1964 / US – Reissue
Genre:Organic Grooves
The live performance which would be the focus of Miles Davis' 1965 album, My Funny Valentine, was the second of two live sets recorded at the recently built Philharmonic Hall in New York. The concert, consisting primarily of slow and mid-tempo numbers, presented a tense and awkward atmosphere to Davis and the latest iteration of his quintet; they were embarking on their highest prestige gig at the time, right on the cusp of the assassination of president John F. Kennedy. Tensions were so high that by the end of the concert they believed that they had botched their performance, and bombed the entire show.
Fortunately Davis and his quintet were wrong. Far from bombing, the recordings on My Funny Valentine were critically applauded, with Davis biographer Ian Carr going on to call the album "...one of the very greatest recordings of a live concert."
My Funny Valentine features inspired performances by Davis and his crew, who brought solemn depth to compositions by Cole Porter, Richard Rodgers, Victor Young, Jimmy Van Heusen, and a live take on "All Blues", the lone Davis piece on the record. My Funny Valentine would not only rank as one of his finest live recordings, but it would be his last collaboration with saxophonist George Coleman, ushering in the arrival of his "Second Great Quintet" period.
Thelonious Monk - Monk
Thelonious Monk
Monk
LP | 1965 | US | Reissue (8th)
30,99 €*
Release:1965 / US – Reissue
Genre:Organic Grooves
Renowned and revered for his improvisational abilities, his contributions to the lexicon of jazz standards, and his many innovations in composition, it's no wonder that Thelonius Monk's catalog is one of the most recorded of all time. (Topped only by Duke Ellington.) An eccentric and quirky pianist, Monk's recordings were marked by strategic dissonance, abrupt key changes, and the usage of silence as an instrument, a style which was not fully understood in its time, (One jazz critic referred to Monk as "the elephant at the keyboard") but would prove highly influential to the likes of Wynton Marsalis, Mulatu Astatke, Chick Corea, and even his contemporaries like Miles Davis and Charles Mingus. In 1964, Monk released his seventh album with Columbia Records, simply titled Monk, featuring a lineup of famed jazz session greats, including Larry Gales on bass, Ben Riley on drums, and Charlie Rouse on tenor saxophone. Monk only featured seven tracks, only two of which were original compositions, but Monk's style can be heard all across the 46-minute collection. With cool jazz and hard bop spins on showtune obscurities like "April In Paris" and "Just You, Just Me", jazz standards like "(Just One Way To Say) I Love You" as well as Monk's own works like "Pannonica" and "Teo", a tribute to Columbia's legendary jazz producer, Teo Macero.
Thelonious Monk - It's Monk Time
Thelonious Monk
It's Monk Time
LP | 1964 | US | Reissue (8th)
30,99 €*
Release:1964 / US – Reissue
Genre:Organic Grooves
Renowned and revered for his improvisational abilities,
his contributions to the lexicon of jazz standards, and
his many innovations in composition, it's no wonder that
Thelonius Monk's catalog is one of the most recorded of
all time. (Topped only by Duke Ellington.) An eccentric
and quirky pianist, Monk's recordings were marked by
strategic dissonance, abrupt key changes, and the
usage of silence as an instrument, a style which was
not fully understood in its time, (One jazz critic referred
to Monk as "the elephant at the keyboard") but would
prove highly influential to the likes of Wynton Marsalis,
Mulatu Astatke, Chick Corea, and even his
contemporaries like Miles Davis and Charles Mingus.
When the mid-60s rolled around, many considered
Thelonius Monk's best days to be behind him, but
in fact some of his most accomplished and deft
arrangements can be found on his 1964 release It's
Monk's Time. The album is a much more relaxed and
casual outing for the post-bop innovator, often known
for noise experimentation. (To the degree that many
die-hard Monk fans would disown It's Monk's Time.)
Despite its relaxed sound, Monk and his power trio
backing band of Charlie Rouse on sax, Butch Warren
on bass, and Ben Riley on drums bring grounded
muscle to Monk's exploratory and ambient piano.
A worthy, 6-song addition to any jazz
aficionado's collection, and some of Monk's
most robust compositions.
T-Bone Walker - The Truth
T-Bone Walker
The Truth
LP | 1968 | US | Reissue (8th)
23,99 €*
Release:1968 / US – Reissue
Genre:Organic Grooves
Aaron Thebeaux "T-Bone" Walker was all but destined for performance from the start. After all both of his parents were musicians, who taught him how to play guitar, ukulele, banjo, violin, mandolin, and piano. He was even an early protege of Blind Lemon Jefferson, who was a friend of the family, and often came over to dinner. Walker began performing blues music during the late 1920s and early 1930s, cutting his first singles, while performing as a sideman across the country, often performing alongside Blind Lemon Jefferson himself, as well as contemporaries like Douglas Fernell, Big Jim Wynn, and Charlie Christian. By the 1940s, Walker had begun to perform more frequently as a solo act, recruiting his own backing band, and being among the first to adapt a guitar technique that would change the course of music history: electric amplification.Were it not for Walker leading the charge and pioneering the electric blues sound, contemporary music might have been very different. His sound help set the stage for essential Chicago Blues artists like Muddy Waters, Howlin' Wolf, and Willie Dixon, while providing key influence to the likes of B.B. King, Jimi Hendrix, Chuck Berry, and innumerable others.
Amon Düül II - Made In Germany
Amon Düül II
Made In Germany
LP | 1975 | US | Reissue (8th)
26,99 €*
Release:1975 / US – Reissue
Genre:Rock / Indie
When Amon Duul II first hit the German music scene of the 1970s, they weren't even the first band to be named Amon Duul. The Munich-based Krautrock band had their origins in the West German commune scene, where the founding members thrived at an art commune bearing the same name. (An establishment for musicians and performers, encouraged to play and collaborate, regardless of experience or ability.) The members of the Amon Duul commune were eventually offered the opportunity to record, at which point the collective split, with the more talented and proficient members going on to form Amon Duul II. (The other band, simply called Amon Duul, would not reach major success.) Throughout their tenure as a band, Amon Duul II performed non-stop, bringing their distinct blend of spacious psychedelia to, according to guitarist John Weinzierl: "...every hall with a power socket and an audience." Amon Duul II released over 15 studio albums during their career, including such celebrated landmarks of Krautrock as 1969's Phallus Dei, and 1971's Tanz Der Lemminge. Their 1975 studio release Made In Germany is a similar pinnacle of the genre, though frequently overlooked among their discography. By this time in their career, Amon Duul II had begun to drift away from the psychedelia that inspired their early records, and towards more slickly-produced progressive art rock, with a polished Abba-like sheen. Fans were unsure how to react to Amon Duul II's new sounds, but critics embraced it whole-heartedly, singling out Made In Germany as one of their best, from the expansive space rock of "La Krautoma", to the Cabaret-like pomp of "Wilhelm, Wilhelm", to the foot-stomping Zeppelin-aping "The Emigrant Song."
Pharoah Sanders - Live
Pharoah Sanders
Live
LP | 1982 | US | Reissue (8th)
23,99 €*
Release:1982 / US – Reissue
Genre:Organic Grooves
An integral figure to the development of free jazz, Farrell Sanders (Best known by his stage name "Pharoah Sanders") has been referred to by Ornette Coleman as "probably the best tenor saxophone in the world", and has frequently been mentioned in the same breath as untouchable legends like John Coltrane or Sun Ra. As a member of Coltrane's final quintet, as well as a bandleader, Sanders' distinct performance style, involving overblowing, multiphonic and harmonic textures, as well as abrasive dissonance helped set an encompassing blueprint for the experimental free jazz sounds of the late 60s and much of the 1970s. Sanders' wild and unhinged playing style takes center stage on his 1982 record Live..., one of his most raucous and accomplished live records released. Sanders is joined by a powerhouse trio of backing musicians, including John Hicks on piano, Walter Booker on bass, and the great Idris Muhammad on drums. By this point in his career, Sanders had gradually begun to move away from free jazz in favor of progressive and modal sounds, but the sounds of his early experimentations are still present and powerful as ever, across four tracks clocking in at a little over an hour in length.
Baby Huey - The Baby Huey Story: The Living Legend
Baby Huey
The Baby Huey Story: The Living Legend
LP | 1971 | US | Reissue (8th)
28,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters. Huey would go on to spend much of 1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself.
Amon Düül II - Hijack
Amon Düül II
Hijack
LP | 1974 | US | Reissue (8th)
26,99 €*
Release:1974 / US – Reissue
Genre:Rock / Indie
When Amon Duul II first hit the German music scene of the 1970s, they weren't even the first band to be named Amon Duul. The Munich-based Krautrock band had their origins in the West German commune scene, where the founding members thrived at an art
commune bearing the same name. (An establishment for musicians and performers, encouraged to play and collaborate, regardless of experience or ability.) The members of the Amon Duul commune were eventually offered the opportunity to record, at which point the collective split, with the more talented and proficient members going on to form Amon Duul II. (The other band, simply called Amon Duul, would not reach major success.) Throughout their tenure as a band, Amon Duul II performed non-stop, bringing their distinct blend of spacious psychedelia to, according to guitarist John Weinzierl: "...every hall with a power socket and an audience." Amon Duul II released over 15 studio albums during their career, including such celebrated landmarks of Krautrock as 1969's Phallus Dei, 1971's Tanz Der Lemminge, and 1975's Made In Germany. Their 1974 album Hijack, however, is frequently forgotten amongst their greatest achievements in psychedelia, and perhaps unfairly so. The album features some of their most exploratory material, dabbling in sounds foreign to the band such as funky brass sections, samba backbeats, and inflections of chamber pop string sections. An anomalous entry into the discography of an already anomalous band, and not one to be skipped.
D.R. Hooker - The Truth
D.R. Hooker
The Truth
LP | 1972 | US | Reissue (8th)
23,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
A holy grail of vinyl rarities, Donald "D.R." Hooker's 1972 album The Truth is handily one of the most famed and sought after privately pressed records of all time. A former hippy with a history of substance abuse, Hooker had just recently turned to evangelical Christianity when he assembled a collection of local Connecticut musicians to commit 10 tracks of psychedelic folk to wax. The Truth features cuts that are far too expansive and groovy to have come from someone so deeply religious, and yet the album oozes psychedelic wonder and ambience. Hooker himself poured his own tumultuous life experiences and tribulations into the songs as well, from the anti-addiction anthem "Forge Your Own Chains" to the pained longing and lonesomeness of "Weather Girl", to devout head-trips like "The Sea." Hooker's The Truth may not have initially expanded beyond the original 99 vinyl pressing copies, but the earliest glimpses of the exploratory and eccentric folk of artists like Sufjan Stevens and Iron & Wine can be heard throughout, and is filled with equal parts pious purity, and raw psychedelic power.
King Curtis - Plays The Great Memphis Hits
King Curtis
Plays The Great Memphis Hits
LP | 1967 | US | Reissue (8th)
21,59 €* 26,99 € -20%
Release:1967 / US – Reissue
Genre:Organic Grooves
If Curtis Ousley (Best known by his stage name "King Curtis") had remained a session musician for the entirety of his career he still would maintain an admirable and potent resume. Before launching his own project he had provided session saxophone work for Buddy Holly, Waylon Jennings, and Wynton Kelly, among many many other legends of music. And yet King Curtis enjoyed a wealth of success with his own solo career in the decades he was active, penning many Billboard-charting hits, and would perform alongside Aretha Franklin, Duane Allman, and John Lennon. Ultimately however, his career would be cut short in 1971, when he was killed in an argument with a drug dealer. Though King Curtis' output ended that day, his incredibly accomplished discography of singles and albums still remained. Chief among them was his 1967 album Plays Great Memphis Hits, which brought the world Curtis' own spin on the great songs of yester-year which inspired him. Features his take on classics by Otis Redding, Wilson Pickett, Booker T. & The MGs, Isaac Hayes,
and his Billboard Pop chart-landing rendition of Rufus Thomas' "Jump Back."
John Cale - Vintage Violence
John Cale
Vintage Violence
LP | 1969 | US | Reissue (8th)
28,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
Audiophile reissue, lacquered directly from Axelrod’s original EQ’ed master
tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket
“Songs of Experience was supposed to have a different feel than Song of Innocence. You see,
music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to
William Blake, what was going on in my life took precedence.” – David Axelrod
Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album; it was
recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with
mortality and spirituality – the solitary, pastoral musings of William Blake set to the urban bombast of a full
Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk.
This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – Song of
Innocence, Songs of Experience and Earth Rot – which will see release through 2018. Contains oversized,
28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published
photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti.
“There are very few people who see the Grand Picture of the Universe and understand the
Nothingness that it all comes from. There are even fewer who can express these ideas through
music - David could do it all.” – T-Ray
Robert Johnson - King Of The Delta Blues Singers Volume 2
Grandmaster Flash & The Furious Five - The Message
Grandmaster Flash & The Furious Five
The Message
LP | 1982 | US | Reissue (8th)
28,99 €*
Release:1982 / US – Reissue
Genre:Hip Hop
In the whole history of hip-hop music, few groups can
claim to have been as influential and important as
Joseph Saddler's group Grandmaster Flash & The
Furious Five. Many of the genre's signature elements
and trademarks can be traced back to the supergroup
founded by the Grandmaster; their discography was
among the first to feature recordings of scratching
and turntablism, their's was the first to feature songs
with political and social commentary, they were the
first to refer to rappers as "MC's", some might even
say they were the group that first coined the term
"hip-hop."
Though Grandmaster Flash & The Furious Five was
considered the number one hip-hop group on their
home turf of New York City, they only maintained a
following on a local level, performing and releasing
singles exclusively on the East Coast. It wasn't until
the release of Sugar Hill Gang's "Rapper's Delight"
that the group realized they could break into the
mainstream. After signing with Sugar Hill Records,
the group released their debut album The Message in
1982.
Bolstered by Flash's deft turntablism, rappers Melle
Mel, Kidd Creole, and Keef Cowboy's vocals, and
production which sampled everything from Chic to
the Tom Tom Club to The Jimmy Castor Bunch, The
Message was a revelation of sorts. More than simply
being a Billboard hit for the group, the album helped
cement hip-hop's credibility with mainstream
audiences, and is considered a major achievement in
hip-hop history. The album's title track was especially
praised, and is considered one of the greatest rap
tracks in music history.
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