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Mac really steps out on this one – pushing past his usual hip studio take on New Orleans soul, to a more expansive style that includes performances by a host of surprise guests like Mick Jagger, Eric Clapton, PP Arnold, Graham Bond, and Doris Troy. That loping, trippy groove of John's is still firmly in place, shifted slightly – kind of a New Orleans meets post 60s London style. There's also a really unique, kind of mellow Cajun folk blues thing going on, and it balances a lot of really disparate elements in a fairly unified feel. It's sort of like Captain Beefheart playing lounge piano in a swamp – an ambitious style that you really have to respect and appreciate. Titles include "Craney Crow", "Black John The Conqueror", "Zu Zu Mamou", and "Pots On Fiyo" "Where Ya At Mule", "Familiar Reality", and more.

A pair of mid 70s album by Bobby Bare – the ambitious, concept-driven Hard Time Hungrys – and the easygoing The Winners & Other Losers – two worthy efforts from one the most unique voices and personalities of his era! Both albums are heavy with songs written by Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. Home For The Hungrys tells the story of the impoverished, with the title track, "Back Home In Huntsville Again", "Bottles And Boxes", "Truck Driver, Truck Driver", "The Unemployment Line" and more. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more. 24 tracks in all.

Really early sounds from the great John Barry – a huge amount of tracks recorded with his combo for the Drumbeat TV show in the UK! The program had a strong focus on the emerging rock and roll sounds of the late 50s – and the John Barry Seven were a perfect group to provide musical accompaniment – professional enough to handle the gig in just the right way, but youthful enough to come up with plenty of sharp-edged sounds! The instrumentation's often heavy on guitar, but features some trumpet lines from Barry too – and although the set features some instrumentals by the group, there's also a lot of vocal numbers – with singers who include Derry Hart, Adam Faith, Bob Miller, Sylvia Sands, Roy Young, Vince Eager, and others. 40 tracks in all – including "Mad Mab", "Bees Knees", "Don't Leave Me", "Slippin & Slidin", "Rockin Sandy", "Get Happy", "Italian Style", "Beatnik", "Catwalk", "I Go Ape", "Shame On You Miss Johnson", and "Buzzin".

Spacey fingerstyle guitar meanderings from Robbie Basho – a contemporary of John Fahey who helped create the genre of tripped out, open tuning excursions! This album was recorded after Basho's early work for the Takoma label, and it's got a bit less Native American imagery than before – replaced with more of a sense of Eastern mysticism for inspiration that also features some vocals alongside the guitar! Titles include "Venus In Cancer", "Eagle Sails The Blue Diamond Waters", "Kowaka D'Amour", "Song For The Queen", "Cathedrals Et Fleur De Lis" and "Wine Song (Sweet Wine Of Love)".

The Beatles at their late best – on a self-titled set that's been long immortalized as The White Album! The White Album capped offed a period of intense creativity for the band, with a double set that's as freewheeling as anything they'd ever release. It's got raw rockers with wry lyricism, tender acoustic balladry, psych blues jams and some flat out weird bits. As was always the case, John's and Paul's songs cover the majority of the sides, but The White Album also features what's arguably George's most vital moment as a Beatle with "While My Guitar Gently Weeps". Other tracks include "Back InThe USSR", "Dear Prudence","Ob-La-Di, Ob-La-Da", "Happiness Is A Warm Gun", "Martha My Dear", "Rocky Raccoon", "Why Don't We Do It In The Road", "Julia", "Yer Blues", "Sexy Sadie", "Helter Skelter", "Revolution 1", Good Night" and more.

Rhythmic early 60s global grooves from John Berberian – a master of the oud with a great group of players on these oft intense takes traditional Turkish, Armenian and Arabic songs! The melodies and rhythms are pretty impressive – the percussion is particularly heavy and groovy! The oud is out front and supported by lots of clarinet and bongo, hand percussion, guitar, bass and some vocals, too! There's a passion here that easily trumps any initial thoughts that this would be a dry reading of middle-eastern folk material – it's appealing in many of the ways that Salah Ragab's Egyptian jazz material is, without the cosmic funkiness. Players include Souren Baronian on clarinet and bongos, Jack Chalikian on canun, John Valentine on guitar and dudoog, among others. Tracks include "Siseler", "Laz", "Basha Bella", "Whyek", "Taksim", and "Nubar Nubar".

Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great – yet also with some cool twists and turns that make a record like this so great – the kind of chance-taking that A&M sometimes allowed its artists to take at the time! Backings are super-groovy – arranged by Artie Butler and Don McGinis – and titles include "I Wonder What She's Doing Tonite", "Teardrop City", "I Wanna Be Free", "The Countess", "Population", and "Two For The Price Of One" – a great cover of a Larry Williams & Johnny Watson soul tune! Features bonus mono single tunes – "The Ambushers", "Love Every Day", "Where Angels Go Trouble Follows", and "I Wanna Be Free".

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well!

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well!

One of the grooviest albums ever cut by Papa John Creach – a set that mixes his bluesy roots with some stoner funk and rock elements from the early 70s! Creach is on vocals and violin, and working here with a host of famous luminaries – including Grace Slick, Carlos Santana, Paul Kantner, and Jerry Garcia – each of whom definitely leave their mark on the record! Yet despite all these famous names, the record's got a pretty unified feel – and the best cuts have a nicely messed-up funk sound that we really like a lot – kind of in a Blue Thumb sort of blend, with a mix of rootsy elements and wilder electric ones and plenty of funky rhythms at the bottom. Titles include "Soul Fever", "String Jet Rock", "The Janitor Drives A Cadillac", "Plunk A Little Funk", and "Papa John's Down Home Blues".

Bob Dylan and his great band whip up a moody, yet darkly humorous Tempest – and while the overall greatness of his records came down just notch or two after Love And Theft – this one goes the other way and comes pretty damn close to his late-era peaks! Lyrically, it's definitely better than the past couple records – with verse after verse of poetic storytelling – which is carried all the more effectively by his weathered rasp. Sound-wise, Dylan is as indebted as ever to pre-rock rhythm & blues, but there's some nice fuzzy electrified arrangements, too – and it's all played by a stellar band that's been with him for a long time now, one perfectly-suited for the style: guitarists Charlie Sexton & Stu Kimball, BR5-49 fiddler and steel guitarist Donnie Herron, bassist Tony Garnier, drummer George Receli, and a most noteworthy guest in Los Lobos' David Hidalgo on accordion. Includes "Duquesne Whistle", "Soon After Midnight", "Narrow Way", "Long And Wasted Years", "Pay In Blood", "Scarlet Town", "Early Roman Kings", "Tin Angel", "Tempest" and "Roll On John". This deluxe limited CD edition includes a 60-page bound notebook with dozens of rare vintage magazine covers – produced exclusively for this edition.

Extremely heady work from the French scene of the early 70s – and hardly the Latin Rock album you might guess from the title! Ergo Sum have a sound that's as contemplative as their name – a slow-building, almost brooding blend of jamming, jazzy work on flute, Fender Rhodes, organ, guitar, violin, bass, and drums – all topped by the distinctive vocals of Lionel Ledissez, who's got a raspy, rough-edged appeal that almost sounds like Cat Stevens gone to seed! The lyrics are all in English, which adds to the appeal of the record – and the flute and keyboard parts are handled by Jean Guerin. Titles include "Night Road", "John's Nightmare", "Faces", "Second Rebirth", and "Albdion Impressions". As with all Lion reissues, the production is wonderful – lots of notes and photos on the music, plus bonus tracks that include "Mexico (inst)", "It's Me", "Tijuana", and "All's So Comic".

A tremendous debut from this overlooked late 60s group from the UK – a powerhouse that would later go onto fuel bigger groups like Jethro Tull, Emerson Lake & Palmer, and Uriah Heep! This initial outing has a surprisingly soulful feel at times – still very rockish in the presentation, but with a style that's still tipping out of the Brit beat group years too – so that even when things are freewheeling and almost progressive, you can still feel some bluesy undercurrents in the vocals and keyboards! John Glascock handles bass, Ken Kensley keyboards – and both sing as well, along with guitarist Joe Konas. Drummer Lee Kerslake completes the group – and titles include "Radio Show", "Farthing Man", "I Never Knew", "Towards The Skies", "Looking Glass", and "Candles Getting Shorter". 2CD set features the full original mono and stereo mixes of the album – plus bonus tracks that include "Somewhere In The Stree", "Baby's Rich", "Real Love Guaranteed", and a great cover of The Beatles' "Hey Bulldog".

A beautiful early 70s psych folk set from the angelic vocal and songwriting duo of Pat Gefell and Jo D Andrews – their Refuge album for Ovation in 1973 – highlighted by their gorgeous vocals, but committed with lovely, lightly soaring arrangements! Save for a solid cover of the Elton John/Bernie Taupin penned "Sixty Years On", Gefell and Andrews wrote the songs here, and it's remarkably strong stuff! The duo vocals and harmonies are especially sweet. The Chicago-based production wisely leaves ample space in the arrangements for them to sort of loosely, emotively embellish with their voices – with string arrangements by co-producer George Andrews and an impressive roster of session players including bassist Phil Upchurch, drummer Don Simmons and percussionist Bobby Christian. Includes "Jenny", "Voice In The Wind", "To A Flame", "Tomorrow Is A Long Time", "Refuge", "Song For Craig", "A Light Is Shining", "Feel The Spirit" and more. Heavy vinyl and cover – and features a great insert with notes!

A beautiful early 70s psych folk set from the angelic vocal and songwriting duo of Pat Gefell and Jo D Andrews – their Refuge album for Ovation in 1973 – highlighted by their gorgeous vocals, but committed with lovely, lightly soaring arrangements! Save for a solid cover of the Elton John/Bernie Taupin penned "Sixty Years On", Gefell and Andrews wrote the songs here, and it's remarkably strong stuff! The duo vocals and harmonies are especially sweet. The Chicago-based production wisely leaves ample space in the arrangements for them to sort of loosely, emotively embellish with their voices – with string arrangements by co-producer George Andrews and an impressive roster of session players including bassist Phil Upchurch, drummer Don Simmons and percussionist Bobby Christian. Includes "Jenny", "Voice In The Wind", "To A Flame", "Tomorrow Is A Long Time", "Refuge", "Song For Craig", "A Light Is Shining", "Feel The Spirit" and more. This great CD edition on Lion is really loaded up with bonus tracks – single mixes, B-Sides, alternate takes and more! Those include "Joy", "Hawg For You Baby", "Country Woman (OV/1038) (Single B-Side)", "Jenny (Single Mix)" and many more. 25 tracks in all.

A strange lost relic from Beach Boy Bruce Johnston – recorded in the mid 70s with some sweet AOR production work by Gary Usher. The album's actually a fantastic slice of late 60s sunny LA pop – and features work by Curt Boettcher, Chad Stuart, and a few other lost pop luminaries – working with Johnston in a compressed style of pop that's got some nice similarities to the better 70s work of the Beach Boys. The album includes great remakes of "Deirdre" and "Disney Girls", a strangely nice version of "I Write The Songs" (actually written by Johnston himself!) – and the tracks "Rendezvous", "Won't Somebody Dance With Me", "Pipeline", and "Thank You Baby". A great bit of overlooked soft rock from the 70s! 2 bonus tracks on this Japanese CD edition: single and 12" disco versions of "Pipeline".

Smoking hot rod grooves – put together by studio maestro Bruce Johnston in the years before he became a bigger Beach Boy! The set's one of many groovy surf/car sets that Johnston cut during this mid 60s stretch – although it's more obscure than most, given its release on Smash Records – instead of the usual Capitol or Columbia outlets for his work. But the lineup features some key familiar faces from those other projects – guitar from Glenn Campbell and Tommy Tedesco, and some mighty drums from the great Hal Blaine! Hot Rod enthusiast George Barris adds his name to the project – and also gives up some nice car knowledge on the back cover – and titles include "Stick Six", "Fireball", "Jive Driver", "Super Fine", "Firecracker 400", "Hotty 32", and "Speed Shifters".

A record of pure genius and one of the greatest albums ever to come out of the British jazz rock scene – in an expanded 2CD package – with BBC and Peel Sessions, plus previously unreleased studio material! Matching Mole was a bit of a supergroup at the time – one that featured the piano, drums, and voice of Robert Wyatt next to the guitar of Phil Miller – topped off by additional piano, organ, and electric piano – in a wonderfully spacey, wonderfully mellow style that's never been matched again! If you dig the quieter, gentler side of Wyatt's work – or some of Miller's most intimate recordings on Virgin – you'll totally flip over the album – but even that's not giving it it's full due, because the sound is totally unique. Wyatt's vocals are wonderfully personal, and almost heartbreaking at times – handled with a fragility that few others of his generation had the courage to match! Titles include "Part Of The Dance", "Signed Curtain", "O Caroline", "Instant Kitten", "Beer As In Braindeer", and "Dedicated To Hugh But You Weren't Listening". Bonus material includes "O Caroline (Single Version)", "Signed Curtain (Single Edit)", the previously unreleased "Part Of The Dance Jam" (21+ minutes!) , plus "Horse", and "Memories Membrane", "Immediate Kitten" and "Marchides/Instant Pussy/Smoke Signal" from early '72 BBC sessions for John Peel and more!

A full blown duets album by Bonnie Prince Billy and Dawn McCarthy of Faun Fables –co-headlining a straight-up beautiful set of tunes once sung by The Everly Brothers! They're not going for the hits here, rather taking on some of the more unusual Everly originals and covers – which include tunes written by Kris Kristofferson, Jackie Edwards, John Denver, King/Goffin and others. As longtime fans of The Everlys at their wierdest and most adventurous, we can't recommend this enough! Billy & Dawn clearly love the songs, and deliver with genuine warmth and affection – and go all in with the production, too! It's sweet and intimate, yet beautifully textured with steel, electric and acoustic guitars, mandolin, harmonium, flute, cello and keyboards – even a sousaphone and tuba! It's mostly got some leftfield country charm, but there's a chugging rocker or 2 in the mix, too. Titles include "Breakdown", "Empty Boxes", "Milk Train", "What Am I Llivng For", "My Little Yellow Bird", "So Sad", "Omaha", "Poems, Prayers And Promises", "Just What I Was Looking For", "Kentucky" and more.

A full blown duets album by Bonnie Prince Billy and Dawn McCarthy of Faun Fables – co-headlining a straight-up beautiful set of tunes once sung by The Everly Brothers! They're not going for the hits here, rather taking on some of the more unusual Everly originals and covers – which include tunes written by Kris Kristofferson, Jackie Edwards, John Denver, King/Goffin and others. As longtime fans of The Everlys at their wierdest and most adventurous, we can't recommend this enough! Billy & Dawn clearly love the songs, and deliver with genuine warmth and affection – and go all in with the production, too! It's sweet and intimate, yet beautifully textured with steel, electric and acoustic guitars, mandolin, harmonium, flute, cello and keyboards – even a sousaphone and tuba! It's mostly got some leftfield country charm, but there's a chugging rocker or 2 in the mix, too. Titles include "Breakdown", "Empty Boxes", "Milk Train", "What Am I Llivng For", "My Little Yellow Bird", "So Sad", "Omaha", "Poems, Prayers And Promises", "Just What I Was Looking For", "Kentucky" and more.

Great work from this solo member of the Paris Sisters – stepping out here in two obscure late 60s albums, plus some rare bonus tracks too! First up is the album Priscilla Sings Herself – tracks that show Priscilla as a surprisingly great songwriter on her own – working in music that goes way deeper than her pop of a few years before, with moody moments and deeper strains that echo some of the hipper singer/songwriter material at the time. Don Peake handles the arrangements, often with gentle orchestrations that work well with Paris' style of singing – on tracks that include "I'm Home", "Stone Is Very Very Cold", "He Owns The World", "My Window", and "Wandering". Next is the rare Priscilla Sings Billie – an unusual take on the music of Billie Holiday, done with a relatively sweet feel overall! Paris is definitely trying for Holiday's tone at times – but her sound is always a bit warmer and airier – almost as if Claudine Longet were doing a tribute to Billie, with a spacious late 60s feel that's almost A&M at times! Backings are by Sid Feller and Don Peake, and players on the date include Jimmy Rowles on piano, Jim Crutcher on bass, John Guerin on drums, and Peake on guitar – plus a bit of added strings. Titles include "In My Solitude", "Girls Were Made To Take Care Of Boys", "Just Friends", "I Love You Porgy", and "My Man". CD is completed by four rare bonus tracks – including "Some Little Lovin Lie", "Twelve Twenty Nine", and "By The Time I Get To Phoenix".

Wild, psychedelic era material from the very hip Lutheran pastor Brother John Rydgren! He sports a smoky voice and a poetic, playful, almost comedic spoken word style – in a way that's very much reminiscent of Ken Nordine – as if Ken was a groovy Christian poet! The sound is fuzzy, tripped out psychedelic pop – and his mission seems to be to satirize the sounds and styles of the time as much as it is to spread the Good Word – but at the same time, he's fully embracing the psychedelic sounds! It's almost entirely spoken word on the vocal front – with some oddball choir backdrops and other, often female voices floating in and out from time to time – and pretty diverse instrumentation that often feels like he's vocalizing over some psych funk sound library grooves! Also like our man Nordine, Brother John was a radio personality – but he released some incredibly rare LPs – with '68's Silhouette Segments, '67's Cantata Of New Life and '66's World Of Youth anthologized here by Omni – along with some additional material and a nice little booklet. Incredibly cool stuff! Includes "Music To Watch Girls By", "The Happening", "An Offering Of Music", "Butterfly", "Great To Build Something", "The Air Terminal", the nearly half hour "Cantata Of New Life", "News (The Kite And The News)", "Forgiveness (The Boy Looking Natural)", "Baptism (Come To War)", "Martyrs" and more.

Patti Smith's first album and one of greatest rock albums of the 70s! Pure, driving passion powers Patti as profoundly as it ever would here on horses. The musicianship is famously top notch, too, making for one of those amazing moments in rock when a great voice – not just a great sounding singer, but uniquely visionary presence ultimately proves to be more forceful than the players. Produced by John Cale, with great guitar from Lenny Kaye – and titles that include "Gloria", "Redondo Beach", "Birdland", "Free Money", "Kimberly", and "Land".

Part of the great 80s run from The Smiths – and a record that has them continuing to grow, continuing to express new ideas – yet still find a way to hang onto all the charm and catchiness that made them so great in the first place! Morrissey's definitely stretching out a bit with his songwriting, and Johnny Marr's guitar finds lots of lovely places to show us why he was such a standout talent in his generation – and production, as always, is wonderfully uncluttered – none of those too-smooth or too-commercial modes that held back so many Smiths contemporaries once they started raising in fame. Titles include "A Rush & A Push & The Land Is Ours", "Last Night I Dreamt That Somebody Loved Me", "I Won't Share You", "Stop Me If You Think You've Heard This One Before", "Death Of A Disco Dancer", and "Girlfriend In A Coma".

Frankie, Frankie – OW! Take a broken down synth, some crazy vocals, and a rich sense of imagination – and you've got one of the seminal groups of the New York scene of the early punk years. Suicide were a seminal bridge between earlier prog underground sounds and the art-rock punk styles that were coming out of New York in the late 70s. With this one landmark album, the band completely dismantled the cold German prog synth of groups like Kraftwerk, La Dusseldorf, and Tangerine Dream – and created a wild sound of spare anguish that brought a whole new dimension to punk rock. Ok, maybe we're going out on a limb – but this record has got to be one of the top 50 "must have" rock albums of all time. Includes the cuts "Ghost Rider", "Rocket USA", "Johnny", "Frankie Teardrop", "Che", and "Cheree" – plus the unreleased remix of "Cheree".

Beautiful, strange – and strangely beautiful stuff from Tony Dore, Caroline Dore and John Clark – who are best-remembered by 70s rare folk diggers as Tony Caro & John! The trio's All On The First Day is one of greater private press records of the early 70s to a get some love much later down the road – and as hard to find as that record was before some reissue action, it turns out that some of their completely unreleased recordings are just as sweet! Most of the songs are from a bit later in the 70s, but they carry on with the psych folk spirit and vocal harmonies of their earlier craft – and with a bit more keyboard experimentation here and there. Strong lead and harmony vocals and a mix of acoustic and electric instrumentation. 11 great songs: "Forever And Ever", "Bye Bye I Love You", "Home", "Sally Free And Easy", "Where The Elephants Go To Die", "Ton Ton Macoutes", "Swirling Sphere", "Pretty Saro" and "Children Of Plenty", plus 2 live tracks from London in '74: "There Are No Greater Heroes" and "The Road To Avalon".

Swinging British pop tracks by two of England's loveliest ladies of the 60s – neither of which is well known as a singer, but both of whom sound pretty darn groovy here! The first 4 tracks on the CD are from a 1966 EP by Twiggy – recorded early in her fame as a model, and with some especially nice backings from Johnny Hawksworth! Twiggy's vocals are surprisingly nice – kind of sweet and light, but also with a sense of darkness that we like a lot – but the Hawksworth arrangements are what really make the album groove, as they're filled with the weird touches we've come to love over the years in Johnny's own instrumental work. Twiggy tracks include "When I Think Of You", "Beautiful Dreams", "Over & Over", and "I Need Your Hand In Mine". Linda Thorson's probably best known as the actress who followed Diana Rigg's run on The Avengers, but here she emerges as a groovy little singer in her own right – working in late 60s Brit female modes that clearly borrow from Dusty Springfield, Sandie Shaw, and others – and which actually have some surprising soul-based touches as the set rolls on. And while we're not about to say that Linda's vocals are as strong as Dusty or Sandie's, we can say that the album's thoughtful arrangements from Kenny Lynch keeps things on very solid footing – pushing the tunes forward with a mixture of baroque, mod, and swinging styles that should have gotten Thorson another date or two in the studio. Titles include "Here I Am", "Better Than Losing You", "Wishful Thinking", "Pick Up My Heart", "You Will Want Me", and "Bad Time To Stop Loving Me".

One of the heaviest early King Crimson albums – a set that really has the group taking off even more than before! The core is Fripp on guitars, John Wetton on bass and vocals, and Bill Bruford on drums – and titles include "Starless", "Providence", "One More Red Nightmare", and "Red".

One of the best early albums from Ash Ra Tempel! Here they bring vocals into to the mix for the first time, though it's still a spacious blend of slow-building atmosphere and spare dynamics that evolve into more feverish and intense maelstroms. The vocals of John L are another instrument, really – with gruff screams and moodier howls that echo the instrumentation impressively. The drums and percussion and incredible, with sax, organ, guitar and electronics. Work that bridges earlier psych to later experimental rock pretty fearlessly! Includes the "Light And Darkness" suite of " A) Light: Look At Your Sun" and "B) Darkness: Flowers Must Die" (originally spanning a side), plus the Schwingungen side "A) Suche" and "B) Liebe".

All the articles from the out of print Volume early issues of Shindig! Magazine – with additional photos and redesigned for this deluxe book treatment – hardcover bound, and beautifully so! Features those excellent articles on class psychedelic, garage and other 60s & 70s titans – including The Move, Love Affair, Ugly Ducklings, John's Children, SRC, Grapefruit, We The People, Buffalo Springfield, Kaleidoscope and more! Hardcover, 112 pages.

An amazing package – filled with loads of rare gems – all vintage vinyl nuggets from the enormous collection of The Cramps! Lux Interior and Poison Ivy are legendary record collectors – and have been digging in thrift stores, warehouses, and basements for many decades – filling a love of music that even predates the formation of their famous group – and which went onto inform the sounds they made on their own! Given that the duo were out there digging for many years before the rest of us, they've definitely gotten their hands on some amazing gems over the years – a good number of which are presented here in an ultra-cool 10" vinyl package – subtitled in ways that really give you an idea of the sounds – "ghoulish exotica", "lip-curling rock n roll", "crazy mixed up sounds", and "instrumental madness". Titles include "The Cave" by Gary Spider Webb, "Wild Man Walk" by The Ebonettes, "Mashed Potatoes" by Noble Watts, "Unitar Rock" by Willie Joe & His Unitar, "Jibba Jab" by Tic & Toc, "From The Top Of Your Guggle" by The Five Blobs, "Gang War" by Gene Maltais, "Sugar Doll" by Johnny Jay, "Bongo Beatin Beatnik" by Joe Hall & The Corvettes, and "Dragon Walk" by The Noblemen.

An incredible batch of hillbilly boogie tunes from the 50s, and a stray couple of honky tonk and outlaw jukebox gems from the 60s & 70s – a fantastic sampler of rockabilly and country nuggets put together by the saints at Bear Family – at an incredible price, to boot! The Bear Family label has been exhaustively compiling this kind of thing for decades now, God bless 'em, and they're celebrating their 33rd Anniversary with a series of CDs featuring 33 tunes for an unbelievably friendly price. A real gift to all of us who've shelled out hundreds of dollars for those completist Bear Family box sets over the years! Features fly-by-night obscurities, great stuff from cult heroes, rare ones by legends, and each and every track is a jewel. Includes an uptempo Cash style reading of "Blue Moon Of Kentucky" by Johnny Seay, the jarring "Border City Call Girl" by Ben Hewitt, "Big Family Trouble" by Skeets McDonald, "The Girl Can't Help It" by Rusty York, "The Fool" by Sanford Clark, "Houn' Dog" by Homer & Jethro, "All I Can Do Is Cry" by Johnny Bond, "Don't Stop Now" by Roy Hall, "Juke Joint Boogie" by Freddie Hart, "First Class Second Class Woman" by Eddie Cletro, "Candy & Women" by Bill Haley and tons more!

A weird sort of title – until you realize it's a play on the name of the city of Manchester, where most of this work originates – and where the testosterone must have been running high during the 70s, when most of these tunes were cut! The music here represents a world hardly heard from before – a British underground in the years after Deep Purple – rich in fuzz, and heavy on drums – making music that easily rivals the badass power of most of the bigger British groups of the time – and which often has an undercurrent of funk at the bottom too! That funky element is definitely at play on the track selection here, too – as you might expect with Finders Keepers at the helm – the folks who've given us fuzzy funky nuggets from around the globe, and have turned back towards home to dig up these mostly unreleased gems! Titles include "Windy Day" by Greasy Bear, "Hunt The Stag" by Stack Waddy, "Ten Days Gone" by Urbane Gorilla, "Crocadilla" by Spider Jive, "Come On In" by Slipped Disc, "Seven Stars" by Plasma, "Johnny" by Socrates, and "Is This Really Me" by JC Heavy.

Bob Dylan and his great band whip up a moody, yet darkly humorous Tempest – and while the overall greatness of his records came down just notch or two after Love And Theft – this one goes the other way and comes pretty damn close to his late-era peaks! Lyrically, it's definitely better than the past couple records – with verse after verse of poetic storytelling – which is carried all the more effectively by his weathered rasp. Sound-wise, Dylan is as indebted as ever to pre-rock rhythm & blues, but there's some nice fuzzy electrified arrangements, too – and it's all played by a stellar band that's been with him for a long time now, one perfectly-suited for the style: guitarists Charlie Sexton & Stu Kimball, BR5-49 fiddler and steel guitarist Donnie Herron, bassist Tony Garnier, drummer George Receli, and a most noteworthy guest in Los Lobos' David Hidalgo on accordion. Includes "Duquesne Whistle", "Soon After Midnight", "Narrow Way", "Long And Wasted Years", "Pay In Blood", "Scarlet Town", "Early Roman Kings", "Tin Angel", "Tempest" and "Roll On John".

Groovy work from Lulu – a fab set of British pop tunes that go way past her work on the To Sir With Love soundtrack! If you only know the girl from her work in that film, you'll really dig this set of 2 classic albums – as the style's much more open, and Lulu really emerges here as a hell of a pop talent. The songs run from funky, to groovy, to trippy, and everything in between – and the set's got some really great moments, like the funky break track "Love Loves To Love Love", a cool cover of Nilsson's "Withou Her", and plenty of other great numbers like "Dreary Days & Nights", "Let's Pretend", "Show Me", "Come September", "Where Did You Come From", and "Boom Bang A Bang". The Lulu Album also features great arrangements by Johnny Harris & John Paul Jones!

John Mayall's definitely getting back to his roots here – and he's also getting help from an all-star cast as well! Mayall's vocals and piano are in fine form – almost with a rough-edged Blues Breakers sort of vibe, but sometimes a bit funkier too – in ways that strongly show the evolution of the older Brit blues groove into some hipper, more soul-drenched territory. Players on the record are a range of familiar names – including Eric Clapton on guitar, Johnny Amond on sax and flute, Harvey Mandel on guitar, Sugarcane Harris on violin, and Keef Hartley on some especially nice drums. Titles include "Prisons On The Road", "Groupie Girl", "My Children", "Home Again", "Blue Fox", "Boogie Albert", "Unanswered Questions", "Goodbye December", "Force Of Nature", and "Dream With Me". CD also features bonus tracks too – including "Accidental Suicide (1988 rmx)", "Force Of Nature (1988 rmx)", "Boogie Albert (1988 rmx)", "Television Eye (1988 rmx)", "Looking At Tomorrow (1988 rmx)", "Mr Censor Man (1988 rmx)", and "Home Again (1988 rmx)".

A live record of a couple of shows from 1971 in Boston and New York. The lineup includes Blue Mitchell on trumpet, Clifford Solomon playing saxes, Ron Selico on percussion, Larry Taylor playing bass guitar, Freddy Robinson on guitar and Mayall plays harmonica, guitar and piano. The first side contains the Boston set and includes "Country Road", "Mess Around", "Good Time Boogie", and "Change Your Ways." Side two contains three longish tracks of "Dry Throat", "Exercise in C Major", and "Got to be this Way".