Rock — CDs  

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

Grooviness galore – and a wonderful selection of obscure psychedelic numbers from the deep deep vaults of EMI Records! The cuts here are mostly of British late 60s origin, and they feature a really fuzzed-up approach to pop – complete with odd production techniques, off-kilter arrangements, and a pretty heady brew of guitar, bass, drums, and tripped-out vocals – all served up with top-shelf sound, as proof that even on the bigger labels of the 60s, lots of younger artists were still taking plenty of chances! The package has complete track-by-track notes in a full color book with photos, labels, and album sleeve images too – and the CD features 25 tracks that include "Dandelion Seeds" by July, "Real Life Permanent Dream" by Tomorrow, "Hold On" by Ipsissimus, "Dog Presides" by Paul Jones, "Model Village" by Pennyh Peeps, "Towards The Skies" by The Gods, "Strange Walking Man" by Mandrake Paddle Steamer, "Mr Commuter" by Mike Proctor, "William Chalker's Time Machine" by The Lemon Tree, "Barricades" by The Koobas, "Please Leave My Mind" by Herbal Mixture, "World Of You" by The Aerovons, and "Monday Morning" by Tales Of Justine.

A tremendous document of work by Jake Thackray – one of the most unique talents on the British music scene of the 60s, but an artist who's sadly been un-remembered over the years! At first glance, Jake's definitely a folkie, but he's also one with a strong influence from French singer/songwriters like Jacques Brel or George Brassens – and takes key inspiration from them in the depth and darkness of his work. Like both Brel and Brassens, Thackray's got a style that's almost out of time – one that's ageless at some points, but with a very contemporary way of viewing the world – personal, pointed, and penned with an incredible sense of wit. In an era when most folkies were attacking the political or pushing into the fantastic, Jake spent careful time looking at human foibles and the complexities of interpersonal relationships – always from a distance, but close enough to note the odd humor in even the most banal situations. This wonderful set brings together 4 of Thackray's albums for EMI – Bantam Cock, Last Will & Testament, Jake's Progress, and On Again On Again – all of which feature Jake's slightly jazz-inflected vocals alongside acoustic guitar and very spare, but well-chosen additional instrumentation. Package also features a full disc of unreleased material – including different versions of other tunes on the albums. 97 tracks in all, and a wonderful musical discovery throughout! Titles include "The Cactus", "Country Bus", "Brother Gorilla", "The Girl In The Window", "Ulysses", "Scallywag", "Salvation Army Girl", "On The Shelf", "Go Little Swale", "Isabel Makes Love On National Monuments", "Joseph", "Famous People", "The Gravedigger", and "Leopold Alcocks".

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

Mad music from the Bonzo Dog Doo Dah Band – a brilliant mix of dada energy and psychedelic production – served up in these five classic Liberty albums from the cusp of the 70s! Frontman Neil Innes later went on to a lot of projects with Eric Idle in later years – including the famous Rutles project – and the work here definitely has a Monty Python sense of humor, especially in the way it mixes the modern and the vintage with effortless ease – but in ways that seem to create a really unsettling blend of two different eras! There's a definite psych influence going on too – possibly the contribution of Vivian Stanshall – and the set features the full albums Gorilla, The Doughnut In Granny's Greenhouse, Tadpoles, Kenysham, and Let's Make Up & Be Friendly – plus a huge amount of "extra treats" – 8 more bonus tracks from later years and singles.

Arguably one of the greatest rock and roll albums of all time – and the key flowering of the partnership between David Bowie and Mick Ronson! The guitars here are heavy – so much so that the record's always crossed over big with crowds who are always suspicious of Bowie's artier work of the 70s – and represented a crucial moment when his groundbreaking music also found a large mainstream audience as well. And despite the fact that Ziggy's an androgynous space rocker with a spurious pedigree, the manufactured posturing of the album's come to be taken quite literally over the years – a vivid text of alienation, expression, and redemption – served up beautifully over a host of classic tracks that include "Five Years", "Soul Love", "Moonage Daydream", "Suffragette City", and "Ziggy Stardust" – all further proof of Bowie's 70s ability to slide in wherever he wanted with ease!

Amazing sounds from The Hollies – a smoking selection of rare recordings for the BBC – overflowing with goodness, and a much-needed addition to their fab 60s catalog! We really love the sound of The Hollies in the studio – but the amazing thing here is that these live, spontaneous radio recordings are equally great – handled with that well-honed sound that few of their contemporaries could touch – a beautiful blend of jangle pop, harmony vocals, and just the right sort of rough edges to really make the whole thing come across beautifully! Tracks are pulled from programs that include Saturday Club, Delaney's Delight, Top Gear, and This Must Be The Place – and the set features a whopping 32 tracks that include "The Games We Play", "I'm Alive", "Look Through Any Window", "Jennifer Eccles", "Here I Go Again", "Wings", "Shake", "Wishyouawish", "Step Inside", "Hard Hard Year", "Charlie & Fred", "Nobody", "She Said Yeah", "Too Many People", and "So Lonely".

A groovy set of surfing stomps performed by The Marketts – some of the best Liberty surf rock ever! This record finds these players pairing up rumbling rhythms and raw percussion with nicely grooving piano and some sweet sax – with some tight, punchy guitar grooves to keep it well enough within the surf instros idiom. Rugged stomps and sunny rockers from the masterful Marketts! Tracks include "Surfer's Stomp", "Let's Go Trippin'", "Surfin", "Stompin' Room Only", "The Bristol Stomp", "Here Comes The Ho-Dads", "Stompede", "Let's Go Trippin'".

The second amazing album from Placebo – a wicked mix of funky fusion styles, and a real standout on the European scene of the early 70s! The group's the brainchild of Marc Moulin – who wrote all tracks, and plays a wealth of great keyboards, in ways that almost make him the European equivalent of Herbie Hancock – especially in the way he can spaciously explore a groove! But there's other great elements to the music too – some tight funky rhythms, great horn parts, and some wicked guitar from fusion legend Philip Catherine – whose snakey lines bring a quality to the record that was in place on Placebo's first outing. Titles include "NW", "Plotseling", "Hop Hop", "Tanga", "Stomp", and "Dag Madam Merci".

Spare genius from the legendary Labi Siffre – a record without categorization, and one that sits beautifully between soul, folk, and singer-songwriter styles of the early 70s! The record balances perfectly between simple tunes that just feature voice and guitar, and more complicated ones that use subtle strings, electric keys, and other orchestrations behind Labi's vocals – never too much, but just enough to give the tunes a hipper, sometimes slightly more grooving feel – in a mode that's somewhere in the territory of Terry Callier from the time, but very much its own sound altogether! This one's incredibly hard to peg – but well worth seeking out, and a tremendous bit of work from an artist who's unfortunately mostly remember these days for just a few famous break tracks – and not his sublime sense of songwriting! Titles include "Love Oh Love Oh Love", "Crying Laughing Loving Lying", "My Song", "Hotel Room Song", "Blue Lady", "Gimme Some More", and "It Must Be Love". CD features 6 bonus tracks that include "You Make It Easy", "For The Lovin", "Oh Me Oh My Mr City Goodbye", "You'll Let Me Know", and "Pristine Verses".

The second chapter of Steeleye Span on Chrysalis Records – and a set that still has the group hewing strongly to the acoustic roots of their early years! At a time when many of their contemporaries were tempted to go for more commercial, more mainstream modes, Steeleye Span only seemed to get more traditional – really holding onto the Celtic folk roots that made them so great in the first place – with amazing lead vocals from the legendary Maddy Prior, and strong vocal support from other group members Tim Hart, Bob Johnson, Rick Kemp, and Peter Knight – who all seem to have really learned how to harmonize together over the years. The set features one live album and four studio sets – the full records Rocket Cottage, Storm Force Ten, Live At Last, Sails Of Silver, and Tempted & Tried – a whopping 47 tracks in all!

A wealth of electronic groovers from the early 80s onwards – mostly club cuts that are heavy on electro touches, presented here in hard-to-find mixes from 12" singles! The set begins with those early 80s grooves we love so much – the best Brit moments when electronics really started to hit the dancefloors in the post-punk years – on up through house tracks, 90s soul numbers, and a few more contemporary tracks. The remixes are offered up as a partner collection to the Electrospective compilation – and the set features 24 cuts that include "Penthouse & Pavement (original 12") by Heaven 17, "It's My Life (US mix)" by Talk Talk, "Talking Loud & Clear (extended)" by OMD, "Buffalo Stance (Kevin Saunderson's techno stance rmx)" by Neneh Cherry, "Water From A Vineleaf (acid bath mix)" by William Orbit, "Always (capella club rmx)" by Erasure, "Milkshake (Tom Neville rmx)" by Kelis, "Sound Of The Crowd (Extended Family voc mix)" by Human League, "Moskow Diskow (Carl Craig rmx)" by Telex, "Around The World (Kenlou mix)" by Daft Punk, and "Good Life (Mayday club mix)" by Inner Life.

A great collection of early 70s pop on the legendary Harvest Records label – and one that's got a decidedly ELO-oriented bent! The package features work by early ELO and related groups Wizzard and The Move, as well as solo work by Roy Wood – one of the key forces in the group with Jeff Lynne at the time. But way more than hits, the CD actually offers a good amount of rarities – unreleased versions of more famous tunes, including rare single or radio mixes! 14 tracks in all – including "Do Ya (7" version)" by The Move, "10538 Overture (US radio mono)" by ELO, "Ball Park Incident" by Wizzard, "Mr Radio (7" version)" by ELO, "Tonight (US radio edit)" by The Move, "King Henry VIII's Bullocks" by ELO, "Rock Down Low" by Roy Wood, "Dear Elaine" by Roy Wood, and "Showdown (ADT version)" by ELO.

The sounds of the sixties – but way more than you might expect! There's definitely a few hits here, but most of the tracks are more unusual numbers too – presented here in a unique British twist on the 60s that not only includes some tracks that played big there, but not over here – and a whole host of collectable numbers that have come to represent the decade in some folks' eyes – even if the tunes only hit bigger fame in more recent years! So what does all that mean? It means you get a rich blend of rock, soul, and vocal numbers – both from the US and UK, in styles that run from mod to swinging to soulful to trippy! 46 tracks in all – including "We're In This Thing Together" by The Carrolls, "My Conversation" by The Uniques, "Night Life" by Willie Nelson, "You Can't Do That" by Nilsson, "No Matter What Sign You Are" by Diana Ross & The Supremes, "I Close My Eyes & Count To Ten" by Dusty Springfiel, "Sukiyaki" by Kyo Sakamoto, "That Means A Lot" by PJ Proby, "Hole In My Shoe" by Traffic, "Super Girl" by Graham Bonney, "Move In A Little Closer" by Harmony Grass, "Run Baby Run" by The Newbeats, "I Can't Wait Until I See My Baby" by Justine Washington, "No Need To Explain" by Flamma Sherman, "Some Other Guy" by Richie Barrett, "Head Over Heels" by Mike Rabin & The Demons, and "I'm A Lover Not A Fighter" by The Brand.

The insane debut of the Bonzo Dog Doo Dah Band – an amazing late 60s Brit ensemble who were almost to music what Monty Python were to TV! This first effort by the group is a mad array of sounds and styles that come together with a great sense of play and joy – a real delight in quick turns, witty phrases, and parodic re-castings of earlier modes – inspired by dada work of the early 20th century, but also handled with a lot more of a post-modern feel overall. Most tracks are short, and many echo earlier music styles, filtered through a slightly psyche filter – and titles include "Death Cab For Cutie", "In San Francisco", "Jollity Farm", "Equestrian Statue", "Cool Brittania", "I'm Bored", "Piggy Bank Love", "Big Shot", "Mickey's Son & Daughter", and "The Sound Of Music". CD also features 7 more bonus tracks – including "My Brother Makes The Noises For The Talkies", "I'm Gonna Bring A Watermelon To My Girl Tonight", "Alley Oop", "On Her Doorstep Last Night", and "Ali Baba's Camel".

A wealth of electronic groovers from the early 80s onwards – mostly club cuts that are heavy on electro touches, presented here in hard-to-find mixes from 12" singles! The set begins with those early 80s grooves we love so much – the best Brit moments when electronics really started to hit the dancefloors in the post-punk years – on up through house tracks, 90s soul numbers, and a few more contemporary tracks. The remixes are offered up as a partner collection to the Electrospective compilation – and the set features 11 cuts that include "It's My Life (US mix)" by Talk Talk, "Talking Loud & Clear (extended)" by OMD, "Buffalo Stance (Kevin Saunderson's techno stance rmx)" by Neneh Cherry, "Sound Of The Crowd (Extended Family voc mix)" by Human League, "Around The World (Kenlou mix)" by Daft Punk, and "Good Life (Mayday club mix)" by Inner Life.

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! CD features the bonus track "National Anthem & Tango".

All the early albums from Barclay James Harvest, plus a huge amount of tracks from singles and radio performances here – all adding up to an incredibly rich document of this seminal British group! Barclay maybe never had the huge crossover success as some of their contemporaries, but their sound here is brilliant throughout – a mode that goes way past mainstream prog and psych, with some tremendous instrumentation that really packs a hell of a lot of punch – never going too far out, or getting too overindulgent – yet really fusing so much into a tight little package. The set features the full albums Their First Album, Once Again, And Other Short Stories, and Barclay James Harvest – plus BBC Top Gear tracks, an early single, Bob Harris sessions, and more – a whopping 69 titles in all!

A sublime second solo effort from Syd Barrett – and maybe his most perfectly-formed album ever! There's a sinister balance to the record right from the start – a gentle approach to the offbeat themes that is almost more unsettling than if the matter was undertaken more forcefully – weird little bits just tossed off by Syd as if they're really the ramblings of the madman promised on the cover of his first LP – almost with a deadpan quality that makes the whole thing even more unsettling with repeated listenings! Instrumentation is relatively lean – almost a folksy mix of acoustic guitar, electric, sullen bass, and some haunting keyboards – all as if someone picked apart Pink Floyd, then started to construct a rough sketch from the parts that lay scattered on the floor. The album's had an influence from psych through punk and many years beyond – and titles include "Baby Lemonade", "Gigolo Aunt", "Wolfpack", "Effervescing Elephant", "Winde & Dined", "Rats", and "It Is Obvious". CD features loads of bonus tracks too – lots of alternate takes of tunes on the album!

One of LA's best arrangers cooks up a very cool batch of instrumental cuts to honor the surfing crowd – and it totally transcends the genre! It evokes the mood and the style nicely, but it's not run of the mill surf music at all – but more of a 60s LA studio instrumentals celebration with a larger sense of arrangements, and some groovy guitar solos by a young Glen Campbell. Kind of close to a mid-period Beach Boys sense of arrangements-meet-surf sounds, and a nice Capitol sound to it. Titles include "Murphy's Grey Wet Suit", "Quigg Rides Again", "Surfing Baja", "Goofy-Foot Glen, "Come September", "End Of The World", "Easy Surf" and more.

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!

Sweetly compressed rock from O Terco – one of the strongest mainstream Brazilian rock acts of the 70s, and a group who managed to fuse their progressive roots into a well-honed sound by the time of this mid 70s set! There's some nice Brazilian elements bubbling underneath the set's heavier guitars – including that great mode of compressing the vocals that was often used in Brazilian sessions at the time, plus some of the freer jazzier riffing that came out of the post-Minas Geras era of rock. Titles include "Pela Rua", "Descolada", "Tercas E Quintas", "Nao Sei Nao", "Hoje E Domingo", and "Blues Do Adeus".

A very cool little album from Placebo – arguably the group's most soulful session ever, and one that draws heavily from American funky jazz at the start of the 70s! The grooves are nice and tight, and keyboards are focused on the most soulful sort of riffs – not nearly as tripped out as in later years, and really doing a great job of sending home the funky rhythms – almost in a way that's sort of early CTI at the best points! Marc Moulin's genius is already firmly in place – and he handles all arrangements, plus plays Fender Rhodes, electric harpsichord, and even what sounds like a bit of moog! Titles include "Humpty Dumpty", "Aria", "Showbiz Suite", "Ball Of Eyes", "You Got Me Hummin", and "Inner City Blues".

Seminal sounds from Placebo – one of the hippest electric groups going on the European scene of the early 70s, thanks to some great keyboards and electronics from the legendary Marc Moulin! Placebo's sound here is a unique approach to funky jazz – one that certainly draws from the electric modes of the American scene, and without any of the jamming elements of other Euro fusion groups – but there's also a touch of rockish inflection at points too – especially in the way the rhythms have a tightly pulsating groove. There's none of the indulgence of prog, but there's definitely a lineage going on somewhere in the mix too – and in addition to Moulin's keyboards, the group also features great horns from Nick Fissette, Alex Socrier, and Richard Rousselet. Titles include "Bolkwush", "Temse", "Balek", "Phalene", "Re-Union", and "Only Nineteen".

An incredible record from Labi Siffre – spare, simple, and totally beautiful – in a space beyond category! The album is the sort that should have been a real standout in the 70s – early work by one of the freshest songwriters to hit the British scene, sung in a style that's a bit jazzy, a bit soulful – with playful inflections that never get in the way of the beautiful lyrics at all. Labi's got a unique blend of modes here that ranks with a rare few in music – Terry Callier, Joni Mitchell, and a few other beyond-category artists from the same generation. The whole thing's extremely beautiful – and Labi's voice and guitar are backed by some subtle arrangements that shade in the bottom with electric keys, a bit of bass, spare strings – and sometimes nothing at all! Titles include "Thank You Lucky Star", "Bless The Telephone", "There's Nothing In The World Like Love", "You're Lovely", "A Number Of Words", "Who Do You See", "Not So Long Ago", "Relax", and "Interlude". CD also features 6 bonus tracks that include "Oh What A Day", "Seasons Come Seasons Go", "Get To The Country", and "Fallin For You".

Donovan at his jazzy best – really picking up where Mellow Yellow left off, and pushing the jazz influences in his sound to deeper lengths! Mr Leitch is a million miles away from his Dylanesque early roots on the set – and is working in territory that's completely his own – a beautiful blend of folk, psychedelic, and jazz-based modes – handled with simple charm throughout, and performed by a group that includes funky sound library genius Alan Hawkshaw on piano, and the great Harold McNair on flute! The title track "Barabajagal" is one of Donovan's most amazing tunes of all time – a funky little number that dances around with some great heavy drums, and which also features guitar by a young Jeff Beck! Other titles include "The Love Song", "Trudi", "Atlantis", "Superlungs My Supergirl", "I Love My Shirt", and "Pamela Jo". The CD features a huge amount of bonus tracks too – including "Stromberg Twins", "Snakeskin", "Lauretta's Cousin Laurinda", "The Swan", "Runaway (demo)", "Palais Girl (demo)", "Sweet Beverley (demo)", "New Years Resolution", and "A Poor Man's Sunshine".

A sweet mix of 80s pop and soul from Limahl – an artist who, despite his haircut and silly name, actually sounds better here than in the group Kajagoogoo! The rhythms are usually upbeat, but in kind of an 80s crossover mode – slight echoes of new romantic touches, which are perfect for the gently cresting vocals of Limahl – and really help him hit some blue-eyed soul high points here. And we'll admit, we really only wrote off the guy as more of a top 40 artist – but there's some added depth here, in kind of a Simply Red way, that's a nice surprise. Titles include "Don't Suppose", "That Special Feeling", "Tar Beach", "Only For Love", "Never Ending Story", "Your Love", and "Oh Girl". CD features 2 bonus tracks – "Never Ending Story (12" mix)", and "Only For Love (dance mix)".

A Syd Barrett treasure trove – and an essential compilation of unreleased work that's a much-needed companion to Barrett's classic albums for EMI! The material here is all from the years 1968 to 1970 – tracks recorded before, during, and around the sessions that later became The Madcap Laughs and Barrett – but which often also show a wider-ranging side of Syd's talents, especially on the few demo recordings – which offer an even more personal glimpse of the artist trying to find his way. Instrumentation is a bit more acoustic than on Barrett's full albums, but even the acoustic guitar is played with these dark tones that have the same sinister quality as the chords he brought to Pink Floyd – maybe even more striking here without any fuzz, as they resonate alongside Syd's offbeat lyrics. Titles include "Rats", "Golden Hair", "Opel", "Clowns & Jugglers", "Birdie Hop", "Let's Spilt", and "Swan Lee". Features a number of bonus alternate takes – added to the original core lineup of 14 tracks from the 1988 release of Opel.

The legendary 1970 recordings Alex Chilton made at Ardent Studios – recorded in a brief moment after the bust up of the Box Tops and before the debut of Big Star – and a truly powerful precursor to that most iconic of soulful Memphis rock acts! For the longest time, the 1970 sessions were something of a rock & roll holy grail – having been oft-discussed, if rarely heard, by Chilton and Big Star diehards. In the mid 90s, Ardent Records finally released the heart of this collection as 1970 – and here it's done up with even more love and respect by Omnivore, which over the course of just a handful of releases has become one of the very best deep digging reissuers of great, should-be classic soul & rock treasures. The vibe swings from stripped down, soulful rock that sometimes flirts with country rock – those songs featuring gruff, bluesy vocals from Chilton that belie his actual youth, just as greatly as his vox for The Box Tops – to gentler soul pop numbers that truly prefigure the Big Star sound to come. The collection features 20 tracks: all of the material from the long out of print 1970, plus other songs from the period, including demos (these are raw in the right kind of way, as finished as we'd ever want to hear them) and some original mono mixes. Great liner notes by Bob Mehr, a living encyclopedia of Memphis musical knowledge. Includes "Free Again (Original Mono Mix)", "Come On Honey", "Something Deep Inside", "I Can Dig It", "The EMI Song (Smile For Me)", "Every Day As We Grow Closer/Funky National", "I Wish I Could Meet Elvis", "All We Ever Got From Them Was Pain", "Sugar, Sugar/I Got That Feeling", "All I Really Want Is Money", "Jumpin' Jack Flash" and more.

Wonderful early work from O Terco – an early EP, packaged here with enough bonus tracks to make a full album! The groove is great – very upbeat, playful, and less heavy rock-oriented than the group's later famous sets – a nicely organic mix of samba generation beats and some of the more playful touches of the EMI/Odeon scene – blended with guitars that certainly show a psyche influence in the music – but in ways that almost make the set sound more like a Brazilian bit of Sunshine Pop! Vocals often have this cool compressed sound – not exactly harmonized, but recorded that way – and the guitar lines are clean, but with an undercurrent of fuzz – especially when bumped up from the bottom by the bass. Titles include "O Visitante", "Mero Ouvinte", "Adormeceu", "Tributo A Sorriso", and "Edificio Da Avenida Central".

The heavy early 70s Swedish psych of Life! There were 2 versions of the record issued by EMI/Harvest back in the day, and this is the rare version with English lyrics – and it's really great stuff. It starts out sort of delicately – almost quietly – with a lighter touch to the vocals, acoustic melodies and keys. From there, though, it gets heavier and more lumbering – but in a groovy way. It's astonishing how much some the better 70s schooled rock to this day sounds like a direct spawn of this record, even if most latter day stoner rockers probably never heard it! It's never too late to catch up, though! Includes "Nobody Was There To Love Me", "Experience Of Love", "Living Is Loving", "Every Man", "Yes I Am", "Quo Vadis" (I-III) and more.

Heavy fuzz from late 60s Brazil – a Tropicalia-era album, but one with a slightly more mainstream groove – one that mixes elements of regional music with psychedelic elements and bouncy, mod-styled backings! The approach is somewhat like the work going on over at EMI/Odeon during the time – although there's certainly a trippier side to the record as well, thanks to arrangements from Rogerio Duprat, Damiano Cozzela, and Julio Medagalia. There's a fair bit of groovers on the record – although in a somewhat offbeat mode – nestled nicely next to a few headier tunes that help balance out the whole set wonderfully. Titles include "Alegria Alegria", "Quem Sabe", "Que Maravilha", "Fossa Boboca", "Longe Do Tempo", "Pela Rua Da Praia", and "Vou Buscar Voce".

Excellent analogue electronics by this groovy modern combo! The record reminds us of some of our favorite late 60s compilations of tracks from the obscure electronic music centers of American universities – with loads of bubbling, fuzzing, and repetitive wave forms. Tracks include "Inevitable Fast Access", "Aphine Repetition", "A Very Uncomfortable Status", and "Meetings In Compact Boxes".

Seminal record from one of the most important hardcore bands to walk the earth – and DC underground classic that hit the scene like a lightning bolt to White House – that cover art speaks the truth! Bad Brains (the album) was originally issued on the then cassette-only ROIR label – this version restores the iconic original cover art and features 15 listed tracks – and adds an unlisted bonus cut! Titles include "Sail On", "Don't Need It", "Attitude", "The Regulator", "Banned In DC", "Jah Calling", "Supertouch/Shitfit", "Leaving Babylon", "Fearless Vampire Killers", "I", "Big Take Over", "Pay To Cum", "Right Brigade", "I Luv I Jah" and "Intro".

A folk funk classic from the early 70s – and a weird little record that has a sound that's unlike anything else we can think of! The arrangements are quite soulful, almost funky at times – with a righteous undercurrent that reminds us of Richard Evans or Charles Stepney at Cadet Records. But the vocals – by singer Barbara Massey – have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! This mix of modes is really great – completely unique, and sublime throughout – with a vibe that was years ahead of its time, and which is finally beginning to get some recognition these many years later. Arrangements are by the pair, but Deodato also had a hand in the record too – and the core combo of musicians includes Grady Tate on drums, Ralph McDonald on percussion, and Sam Brown on guitar – alongside more guitars from Ernie and keyboards and piano from Barbara. Tracks include "Searching the Circle", "Do You Know", "For You", "Play With Fire", "My Love & I", "Satisfied", and "Prelude" – plus a wild remake of "Somebody to Love"!

One of the greatest records of all time – and don't you forget it! Despite the countless lines of type that have been written about this record, nothing does it full justice like an all-through listen – something we're reminded of every time we put this one on the turntable, which is a heck of a lot over the years! Brian Wilson busted his ass making this little gem – and the rest of the world, and the band, were never the same again – awash in harmonies that most other groups tried to match, set to themes of young loss, longing, and frustration that really mark an emotional development – not just in the Beach Boys, but in pop music in general. And although some of the tracks are ones you've heard a million times on oldies stations, they somehow resonate together much more strongly here – taking on new meaning as the smaller elements of each song come into constellation with each other – creating a complicated tapestry of feelings set to near-godlike orchestrations. Titles include "God Only Knows", "Caroline No", "Pet Sounds", "I Just Wasn't Made for These Times", "Wouldn't It Be Nice", and "You Still Believe In Me". Includes mono and stereo mixes of the whole album!

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day". Deluxe CD version features three bonus tracks – "So She", "Plan", and "I'll Take You There".

A glorious relic of early 70s studio pop – and a record that's awash in unapologetic references to The Beatles and The Beach Boys! Chesapeake Jukebox Band were a short-lived collaboration between singer-songwriters Steve Sawyer and Freddie McFinn, who are working here with genius producer Ron Frangipone in the best compressed style of the legendary Record Plant studios. There's lessons here learned clearly from Brian Wilson, Phil Spector, George Martin, and some of the hipsters on the late 60s Warner scene – but an overall approach that's a bit more personal in the lyrics – which makes for a great combination with the loftier production of the album. At one level, there's also a spaciousness here that reminds us a bit of later work from the UK pop scene – but again, the whole thing's a bit more down to earth, in a way that we really like. Titles include "Sad Nite In Boston", "This Time", "Jennifer", "Love", "Until We Meet Again", "Daisies For The 8th Of May", "Fizbee's Tavern", and "The Door's Unlatched". CD also features 3 bonus tracks – "Don't Howdy Doody On Me", "Crime Of The Century", and "Don't Cry Your Eyes Out".

The third album from Alice Cooper and perhaps the first great one – starting the 70s sleaze show win streak with the massive "I'm Eighteen" –and a record full of great, gritty and grimy rock 'n' roll. Bob Ezrin's producing for the first time, and if the songs and the whole show isn't yet as menacingly theatrical as it would get to be in the following couple of years, the angry anthemic vibe is here and it's heavy! Other tracks include "Caught In A Dream", "Hallowed Be My Name", "Black Juju", "Is It My Body", "Second Coming", "Ballad Of Dwight Fry" and "Sun Arise".

Cool compressed sounds from Lynsey De Paul – a UK singer/songwriter with a great breathy style! The package here really digs deep into these seminal years for Lynsey –and brings together two albums and a lot of great singles – all of which have a style that's almost a 70s take on the kind of pop you might have heard on A&M in the late 60s – but done here with that great British way of fusing everything together so strongly in the studio! Lots of numbers are unabashedly catchy, yet still have a dark undercurrent that really sets them apart – kind of a sinister vibe alongside the sex – on cuts that include "Sugar Me", "All Night", "Blind Leading The Blind", "So Good To You", "Nothing Really Lasts Forever", "Rainbow", "Nursery Rhyme", "Central Park Arrest", "Crossword Puzzle", "Getting A Drag", and "Brandy".

A weird and wonderful little record – the only album ever made by American singer Emily Bindiger – cut at the tender age of 16 in France, with backing from the band that usually supported Michel Polnareff! The style here has that sweet mix of acoustic and electric elements we love in Polnareff's music – recorded in a similarly echoey way – but Emily's English language inflections and lyrical presentation also make the record sound quite different overall – often times as dark and spooky as you might guess from the image on the cover! Titles include "Song For Steven", "Jesus Said", "Confession", "Sunflower Seeds", "Song Of Decision", and "Old Lace".

A really great album from Fire – a set that has the trio expanded way more than usual, into jazz orchestra form – and working here in a style that's wonderfully soulful and spiritual overall! The set isn't just a spiritual jazz outing – as it's got these really unique flavors and colors that still echo the intensity of the previous Fire trio outings, but which spread the energy out over the larger ensemble, then give it a lot more focus too – less improvisation, and instead some really visionary arrangements that make the whole thing shine brilliantly from start to finish. There's a bit of vocals, which are tremendous too – almost echoing some of the Fontella Bass work with the Art Ensemble Of Chicago, but darker too. Mats Gustafsson conducts the group – and really blows us away with his efforts – and the set features one long two part composition – with performances by Sten Sandell on piano and electronics, Mariam Wallentin and Sofia Jernberg on voice, Magnus Broo and Emil Strandberg on trumpet, Jonas Kullhammar on bass sax, Fredrik Ljungkvist on baritone and clarinet, and Mats himself on tenor and live electronics!

Rock 'n' soul from South Africa's The Flames – their '67 set Burning Soul and '68's Soultime – on a single CD! Burning Soul wasn't the group's first album, but it's the first featuring vocalist Blondie Chapman, who helped steer the group's more rocking roots to a sound more indebted to classic Motown and Atlantic soul! They do keep a nice undercurrent of rock & roll, though,and this is a nice little set with some really groovy covers. Titles include "You Got It Made", "Stop, Look And Listen", "Knock On Wood", "Hold On I'm Coming", "Purple Haze" and more. Soultime has a pretty cool mix of straighter late 60s style soul-rock with a bit of trippy psyche influences in the mix. At this point, the group reminds us a little bit of Soul Survivors and some of the acts on Dunwich – and the bass-heavy groove of the tracks is really wonderful. Titles include "Lost", "If You Think You're Groovy", "I Was Made To Love Her", "Useless Illusions", "Restless", "Wishes", and "Solitude".

Two incredibly groovy records that will completely redefine your expectations for religious music – both put together by the Rev Nick Freund! Montgomery Chapel is an incredibly dark album that's way more acid folk than anything else – recorded by a group named The Search Party, and served up with spare acoustic guitar, trippy electric, and this etherel organ that really makes the whole thing feel like an acid trip right from the start – as do the lyrics, which are often sung by a female singer who sounds like Grace Slick really trying to push even farther past the darkness of "White Rabbit"! A few tunes are upbeat, but most are very slow and sad – almost Wicker Man in mood – with titles that include "The News Is You", "All But This", "Renee Child", "Speak To Me", "When He Calls", and "The Decidedly Short Epic Of Mr Alvira". The second album is titled after a creepy line from the Bible – Each One Heard In His Own Language About The Marvels Of God – quoted later by Aphrodite's Child on their 666 album, and presented here at the start of the record by the St Pius X Seminary Choir, in ways that oddly have the same sort of eerie undercurrents! The set's more of a straight vocal affair, but with plenty of folksy undertones – and there's also an undeniable sense of darkness that completely undercuts any brighter spirit of faith. Titles include "Who is This Man", "Get Together", "Come Children Hear Me", and "Mass For The Secular City". 2CD set features great notes, in the usual Lion style – plus a dozen more bonus tracks too!

Collects obcure and out of print early releases.

Modern avant pop from Brooklyn with love for the 80s post-punk and post-disco gamechangers – dancefloor ready acts from Liquid Liquid to ESG to Tom Tom Club – though done with a hooky, contemporary vibe! It's irresistible stuff to us – we couldn't shrug it off, even if we tried to. Lovely feminine vocals and a breezy pace keeps the Friends vibe inviting all the way through, though underneath that is a diverse bed of instruments and influences. Friends draws from the same pool of influences as a ton of their hip peers, but to us, Friends pull it with a lot more charm. Titles include "Friend Crush", "Home", "A Life", "Ruins", "Proud/Ashamed", "Sorry", "A Think Like This", "Ideas On Ghosts", "Stay Dreaming" and "Mind Control".

Not really a Goblin soundtrack, so much as a soundtrack project by some of the band's members – Claudio Simonetti, Massimo Morante, and Fabio Pignatelli – but still a nice one, with most of the group's classic elements firmly in place! The score's a great counterpart to this very odd Dario Argento film about a novelist turned murderer – and it's filled with lots of spacey keyboards, fuzzy guitars, and the kind of weird atmospheric bits you'd expect from an early 80s horror film! The CD includes a total of 19 chilling tracks, with a number of bonus cuts, a few of them remixes. Titles include "Slow Circus", "Lesbo", "Jane Mirror", "Waiting Death", and "Gemini".

Truth in album titles from Manuel Goettsching – inventive soundscapes from the Ash Ra Tempel founder – played entirely on electric guitar, though it's all about hypnotic layering and effects. It's amazing stuff, evolving guitar notes manipulated into the studio. "Echo Waves" is a 17+ minute, uber-hypnotic piece that's another case of material living up to the title, one that reminds us a bit of some of Tangerine Dream's soundtrack work of a decade later. "Quasarsphere" is atmospheric and spacey, a shorter piece. "Pluralis" is the 20+ minute epic closer, very much akin to "Echo Waves".

Two early gems from this fab French singer! First up is the self-titled Francoise Hardy album from 1962 – a seminal debut from the young Hardy, and a record that set the tone for a whole generation of French music to come! The album's a remarkable achievement – especially considering that Francoise was 18 at the time – filled with original tunes that have a really fresh presentation – not just in the lyrics, but in the overall presentation – which was a huge change from the overly emotive modes of the generation before. Hardy plays a fair bit of acoustic guitar along with her vocals – furthering the groovy feel of the set – and backings are by the orchestra of Roger Samyn, who adds in some slight rockish touches. Titles include "On Se Plait", "Oh Oh Cheri", "Ca A Rate", "Tous Les Garcons Et Les Filles", "La Fille Avec Toi", and "J'Suis D'Accord". Canta Per Voi In Italiano has Hardy changing up her lyrics entirely – using Italian instead of French, in a way that was not uncommon for other European singers of her time! The vibe is similar to her French work of the time – a beautiful blend of dreamy female vocals and some slight rockish touches – the latter of which are always underplayed, so as to keep the youthful quality of Hardy in the lead. Titles include "Ci Sto", "Per Tanto Tempo", "Io Vorrei", "E Alla'Amore Che Penso", and "L'Eta Dell'Amore".

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more.

A really amazing live set from Jimi Hendrix – recorded in Berkeley at a very fervent time in that city's scene – which spins out in some amazing interplay between the musicians on the stage, and the rapturous fans in the audience! Hendrix is right on the money throughout – ripping through guitar lines that remind us that there's few out there who can still touch his genius in this stretch – and the show's recorded with just the right focus on Jimi to really make his power resonate strongly throughout! The set features the full second set of the May 30 performance from 1970 – presented in order, in its entirety, with beautiful mastering. Titles include "Pass It On", "Hey Baby", "Foxy Lady", "Purple Haze", "Star Spangled Banner", "Hey Joe", "Stone Free", and even an introductory part that's pretty compelling!

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

An unabashedly 80s-styled set – one that makes heavy use of drum programs and keyboards, but in ways that come up with a surprisingly warm sound in the end! Kindness remind us of some of our favorite indie projects from decades back – especially some of the more intimate records from the post punk years – a bit homemade in the sound structure, but put together with a sense of studio privacy that really lets some warmer, more personal feelings come through in the mix – yet in ways that are light years from any sort of singer/songwriter mode too. Vocals and most instrumentation come from Adam Bainbridge – although a few tracks feature additional guitar or drums from others – and titles include a great cover of The Replacements' "Swingin Party", plus "Anyone Can Fall In Love", "Gee Wiz", "House", "That's Alright", and "Doigsong".

Vintage funk from Poland – played by a combo who are kind of rockish at the core, but also have a lot of jazzy leanings overall! The work here is all instrumental – and grooves grow right up from the bottom, driven by some heavy drums that are totally great, and often given these basslines that are rolling, yet a bit brooding too – with bluesy undercurrents that are sometimes echoed by the group's excellent Hammond as well! Other instrumentation includes a guitar – both acoustic and electric – piano, and even a bit of kazoo – and the whole thing's great – on a par if not better with any British groups of this nature from the time, and not marred at all by overdone vocals. Titles include "Szkola", "Sen", "Safari", "Epidemia Euforii", "Taniec Glodnego", and "Automaty".

Amazing sounds from Polish composer Andrzej Korzynski – penned for a legendary horror film from the early 80s! The movie goes way beyond typical grit and gore – with a surreal bent that's made it the stuff of much discussion over the years – and Korzynski's music definitely lives up to the spirit of the images on the screen – mixing 80s electronics with offbeat strings, odd percussion, and other compelling bits – often used in very short songs that shift often throughout the course of the album – easily making the record one of the most playful we've ever heard from Finders Keepers – yet also one of the darkest too! A few sweet keyboard melodies offset some of the spookiness in a nice way – and titles include "Helen Has Green Eyes", "Opetanie 1", "The Night The Screaming Stops", "Blue Ford B AZ6", "Heinrick's Demise", "Mark Looks In The Fridge", "What Is It", and "Closely Observed Anna".

Raw & rambling folk sounds from Michael Hurly – recorded in early '72 – some of his better material of the era, living up to if not surpassing his Armchair Boogie of a couple years earlier! Michael's in seemingly amiable spirit here on some tunes, and a standing on shakier ground and in scarier waters at other points, with some country rock tinged jams and weirdo troubadour numbers. Titles include "Blue Driver", "Water Train", "The Sun Is Slowly Sinking", "I'm Worried, I'm Worried", "In Florida", "Lilly Pads Upon The Pond", "Trinidad" and more.