Includes "We Got The Beat", "Our Lips Are Sealed", "Skidmarks On My Heart", "Lust To Love", and more. LP, Vinyl record album

... 7-inch, Vinyl record

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... 7-inch, Vinyl record

An unusual side project by Stewart Copeland of The Police! LP, Vinyl record album

... 12-inch, Vinyl record

(Cassettes, Rock) Cassette

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... LP, Vinyl record album

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(Cassettes, Rock) Cassette

(Cassettes, Rock) Cassette

... CD

... LP, Vinyl record album

(Cassettes, Rock) Cassette

... CD

... LP, Vinyl record album

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The only full length album ever issued by Suburban Lawns – a real standout in the southern California scene at the end of the 70s, and a group whose potential seems to know no bounds! These guys are clearly rooted in punk, but already reaching past it – getting creative and playful with their song structure, then rolling back into these short, sharp bursts of guitar energy that shows that they can go head to head with the best of them – a combination that makes the record pretty darn fantastic all the way through! Vocals are nice and jagged, and really fit the spirit of the songs – which were all penned by Su Tissue, who sings lead on a number of them. Titles include "Janitor", "Flying Saucer Safari", "Anything", "Green Eyes", "Jam The Controls", "Intellectual Rock", "Gossip", "Unable", "When In The World", "Not Allowed", and "Mom & Dad & God". LP, Vinyl record album

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... CD

With "Mexican Radio"! LP, Vinyl record album

... LP, Vinyl record album

... 7-inch, Vinyl record

With great Robert Williams cover! CD

... 12-inch, Vinyl record

A strange mix of sound library electronics and much more experimental work from Philippe Besombes – a set that carries echoes of some of the best Italian soundtrack electronics of the 70s, but which also features much darker, more turgid moments as well! The album collects some of Besombes' performances for ballet and other settings – and stands as an even starker document of his talents than some of the other albums issued under his name in the 70s. The core album is expanded here with 5 more bonus tracks that are almost noisier than the first – tunes that really hit the far reaches of analogue electronics, especially the low range of their sound. Titles include "Pawa 1", "Geant", "Princess Lolita", "Seul", "Ceci Est Cela", "L'Or Des Fous 4", "PJF 159", and "Traversee". CD

A great package – one that features some wildly experimental work from French electronics whiz Philippe Besombes! First up is the album Libra – tripped out electronics meet progressive rock jamming – all in a weird and wonderful film score from the early 70s! The record's one of the best by French experimentalist Philippe Besombes from the time – and it's got a style that sort of starts in the territory of Francois De Roubaix similar electronic work for film – but gets a lot darker and noisier right away! There's a textural depth here that's really great – almost a pre-industrial music exploration of sounds – but the work's also not that over-indulgent, either – and Besombes always has a great way of getting back to a tune, especially on the shorter tracks. Titles include "La Plage", "Rugby", "Ceremonie", "Hache 06", "La Ville", "Les Cosmonautes", "Tis A Song", "Boogimmick", and "PJF 261". Next is the record Esombeso – also release as Ceci Est Cela – a strange mix of sound library electronics and much more experimental work from Philippe Besombes – a set that carries echoes of some of the best Italian soundtrack electronics of the 70s, but which also features much darker, more turgid moments as well! The album collects some of Besombes' performances for ballet and other settings – and stands as an even starker document of his talents than some of the other albums issued under his name in the 70s. Titles include "Pawa"," Geant", "Seul", and "Ceci Est Cela". Next are two more albums done under the name Hydravion – both of which show Besombes turning his electronics into tighter, more song-based territory – although not without some noise from time to time – shorter tracks that sometimes get a bit tuneful, but which are still light years from mainstream music of the period. CD set also features bonus tracks for the first two albums – 8 more numbers that include "L'Or Des Fous", "Traversee", "Trio", "Piano Prepare", "Orgue Hache", and "Chocolate Cream". CD

The amazing first album from Big Star – a set that came out of nowhere, made hardly a ripple on the charts, yet went onto crash in big waves of sound for generations to come! The style here is unlike thing else before – hardly what you'd expect from the group's Memphis roots or Alex Chilton's previous performances – yet the group's music has become a generation-defining sound in the way it blends southern inflections with harder rock influences, and a lean, gritty quality that's arguably in a late 70s space between punk and power pop. Every element is wonderful – guitars that are powerful, but never indulgent – vocals that are moving, but never overly emotive – and a balance between sensitive and searing moments that even The Replacements could never hope to match. A landmark all the way through – with tracks that include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Don't Lie To Me", "Thirteen", "Watch The Sunrise", and "Try Again". LP, Vinyl record album

A record that may have never hit the radio city it wished for in the title – but a classic that's gone onto have an undeniable influence on so many scenes and styles over the years! This sublime second set from Big Star is even leaner and more focused than the first – a record that has the group losing Chris Bell, yet still retaining a lot of his influence – while the main focus moves over to Alex Chilton, whose ability to sing and write is simply mindblowing! The tunes have these dark, melancholy moments that are unlike anything either Chilton or rock had given the world up to the time – and really almost feel much more like work from a decade later in terms of execution and production. There's no easy labels, no easy terms you could ever hope to ascribe to the record – and that's fine, because it stands majestically well on its own. Titles include "O My Soul", "Life Is White", "Way Out West", "You Get What You Deserve", "Mod Lang", "She's A Mover", "Morpha Girl", "I'm In Love With A Girl". LP, Vinyl record album

A really unusual second chapter of the first album from 80s underground psych giants Black Sun Ensemble – material that was recorded for that initial record, but which was lost in all sorts of different ways over the years – finally unearthed and brought together here as a stunning second album, thanks to the research that went into a recent reissue of the debut! There's plenty of freak, fuzz, and drone going on here – the group in territory that just about nobody else was touching on the American scene at the time – very dark, heady styles that are completely different from the polished pop of the paisley underground, and much more like some of the more substance-altered psych that was beginning to emerge in the UK. Titles include "Mayan Dance", "Ice Breaker (alt)", "Red Ocean", "Blue Thunder", "Heart Of The Sky", "Ruby Eyes Of China", "Mandolin Winds", "A Chunk Of Mandolin Love", and "Dove Of The Desert". LP, Vinyl record album

A trio of spacey classics from Tim Blake – all brought together in a single set! First up Crystal Machine – fantastic sounds from Tim Blake, an artist who previously worked with Gong, and sometimes worked with Hawkwind – but who really came into his own on this legendary album of electronics! Tim works here on a self-constructed "crystal machine" – a bank of electronics that was often played in performance to front some trippy film installations (as shown on the cover) – which perfectly suited the stretched-out spacey style of his music! The vibe is maybe a bit like early Tangerine Dream, but with some of the warmer modes of the French electronic scene of the time – and titles include "Midnight", "Last Ride Of The Boogie Child", "Synthese Intemporel", and "Crystal Presence". On the cover of Blake's New Jerusalem, Tim looks like he's sitting at the helm of a spaceship on the cover – and in a way, that's what his music was at the time – a way of taking off to the skies on waves of electronics, in the kinds of sounds that Blake first created in his Crystal Machine project, but which have an even sharper focus here! The album's got more vocals than Tim's previous effort, and in a way that's what really sets it apart from the rest – as Blake's got this warmly positive approach that would be at home in progressive folk, but which here comes across with a very unique style – given the mostly electronic setting of the album! All the banks of knobs, slides, and keys pictured on the cover are used to strongly skillful effect – on titles that include "Generator", "Passage Sur La Cite", "New Jerusalem", "Song For A New Age", and "Lighthouse". Magick is a really great later set from electronic genius Tim Blake – an album recorded 15 years after his early classics, and done in his windmill home in France – but all played live, in a way that makes the electronics and keyboards here maybe more amazing! Blake has certainly picked up some of the elements from the 80s generation who were influenced by his earlier work – but also keeps the more open sense of song structure from his classics at points – with a sound that still knows when to revel in the best analog moments, next to the digital ones. Titles include "Tonight", "Strange Secret Of Ohm Gliding", "A Dream", "More Magick", and "Waiting For Nati". Also features the bonus b-side "The Woodland Voice". CD

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

Early work from one of the heaviest hard rock bands of the 60s – presented here on a set of demo tracks that were originally broadcast on San Francisco radio, and helped the group earn their recording contract with Philips Records! Blue Cheer were maybe the first group to think of turning their amps up to 11 – and there's a rawness to this work that may even top the fire of their classic debut, with really mindblowing guitar from Leigh Stephens all the way through! Titles include the 10 minute jammer "Doctor Please", a killer take of "Summertime Blues", and the mighty fierce "Second Time Around". LP, Vinyl record album

Another dose of ridiculous bluesy heaviness from Blue Cheer, without as much bluster as their first couple of albums, but the same bloated appeal. 10 numbers in all, including "Fool", "You're Gonna Need Someone", 'Hello LA, Bye Bye Birmingham", "Saturday Freedom", "Ain't That The Way Love's Supposed To Be", "Rock & Roll Queens", "Better When We Try", "Natural Man", "Lovin' You's Easy" and "The Same Old Story". LP, Vinyl record album

This Blue Cheer record, their first of 2 in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". CD

This Blue Cheer record, their first of two in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". LP, Vinyl record album

The second bright blast of garage psych grooves from Blues Magoos – their excellent Electric Comic Book set for Mercury – just as great as the first album! At this early point, the group brings a deliriously high energy approach, even in the studio – we can only imagine how incredible the live show must have been – but still with catchy harmonies and a wicked sense of humor. The organ and heavy drums is the bedrock for garage rock to come, too! Titles include "Pipe Dream", "There's A Chance We Can Make It", "Gloria", "Summer Is The man", "Baby I Want You", "Take My Love", "Rush Hour" and more. LP, Vinyl record album

The third solo album by Colin Blunstone – the magic-voiced singer who was lead vocalist of the Zombies, and went on to cut some god-like solo work in the early 70s! This album's a bit less sublime than Colin's first two – with tracks that veer a bit more towards the soft rock sound of the 70s, with some compressed AOR touches in place of the floating instrumentation of earlier albums – but it still sounds mighty nice to our ears, as Colin's voice is always a treat, and the record has a irrepressible charm in its optimistic presentation of some of the material. Essentially, if you dig Colin lots, you'll still want this one – as it's got more than a few nice moments – and is more of an evolution of his solo work than a divergence from it. Titles include "Setting Yourself Up", "Brother Lover", "Shadow Of A Doubt", "It's Magical", "You Who Are Lonely", "Beginning", and "Keep The Curtains Closed Today". LP, Vinyl record album

Heady and heavy work from Billy Bond and La Pesada Del Rock & Roll – a guitar heavy group from Argentina, and one with plenty of blues rock overtones! The guitars are definitely turned up to 11 here – jamming with an intensity to match some of the best hard rock sides from Peru reissued by the Lazarus label in recent years – and like those sets, there's a sound here that's an intensification of earlier beat group modes – taken into much harder territory for the 70s. The production is great – earthy, trippy, and a little bit spooky – and the album's got an oddly unsettling feel, one that's familiar at first, but then increasingly estranged as the record moves on. Quite compelling, and with 16 tracks that include "Dueno De Tu Piel", "El Parque", "Buen Dia Senor Presidente", "Divertido Reventado", "Salgan Al Sol", "La Maquina", "Voy A Ver Un Amigo", "Para Que Nos Sirven", and "La Marcha De San Lorenzo". (Brazil, Rock) CD

The second great entry in the Changes series from David Bowie – and, like the first, a well-chosen array of tracks that really get at his creative genius as a pop star – which includes a few great titles from his post-Berlin years! The set does a great job of spanning the 70s – and includes the single-only "John I'm Only Dancing (Again)" – which is a clubbier take on the earlier song that was showcased on Changes One. Other tracks run from the Ziggy years onward – and include another great single, Bowie's take on "Oh You Pretty Things" – which was more famously recorded by Mott The Hoople, although written by Bowie – plus "Aladdin Sane", "Starman", "1984", "Ashes To Ashes", "Sound & Vision", "Fashion", "Wild Is The Wind", and "DJ". LP, Vinyl record album

The brilliant consummation of Bowie's late 70s years in Berlin – a record that showed he could take the experiments in sound he was crafting with Brian Eno, and turn them back into the kind of creepily catchy rock tunes that first made him a legend! Eno's help on the record is still quite strong – heard very well in the record's use of odd electronics and exotic themes – of a sort that Eno would later explore on his own with David Byrne. But the real charm here is pure Bowie – with an unabashed flair for a dramatic lyric, a well-chosen use of a heavier guitar, and a sense of personality and poise that makes the record one of his most unified ever! Titles include "Red Sails", "Look Back In Anger", "Repetition", "Boys Keep Swinging", "Red Money", "Yassassin", and "DJ". LP, Vinyl record album

The brilliant consummation of Bowie's late 70s years in Berlin – a record that showed he could take the experiments in sound he was crafting with Brian Eno, and turn them back into the kind of creepily catchy rock tunes that first made him a legend! Eno's help on the record is still quite strong – heard very well in the record's use of odd electronics and exotic themes – of a sort that Eno would later explore on his own with David Byrne. But the real charm here is pure Bowie – with an unabashed flair for a dramatic lyric, a well-chosen use of a heavier guitar, and a sense of personality and poise that makes the record one of his most unified ever! Titles include "Red Sails", "Look Back In Anger", "Repetition", "Boys Keep Swinging", "Red Money", "Yassassin", and "DJ". LP, Vinyl record album

Caspar Brotzmann on guitar, Eduardo Delgado Lopez on bass and vocals, and Danny Arnold on drums. (Jazz, Rock) CD

One of the earliest albums ever from Harold Budd – an artist who'd later rise to great ambient fame in the following decade, but who's maybe at his most sophisticated here! The set has all the hallmark of the new musical experiments that Brian Eno was showcasing on his Obscure Music label – where the set first appeared – and Budd plays electric piano with a very cool set of contemporary musicians – a lineup that includes alto sax from Marion Brown, harp from Maggie Thomas, marimba from Michael Nyman and John White, and glockenspiel from Gavin Bryars. Brian Eno produced the record, and vocalizes slightly – and tracks have a long-spun, almost spiritual vibe – on titles that include "Bismallahi Rrahmani Rrahmani", "Two Songs (Let Us Go Into The House Of The Lord/Butterfly Sunday)", "Madrigals Of The Rose Angel", and "Juno". LP, Vinyl record album

A record that's way more than just "again" – that is, a recap of the first Buffalo Springfield classic – as the set not only has the group really exploding forward, but also the individual members taking these strong steps on their own that really point towards their big legacies to follow! Neil Young grabs us with darkness on the first tune, Richie Furay warms us with some country strains on the next, and Stephen Stills moves into a space that's very much his own on the next – yet throughout it all, the record has this sense of unity that really holds up over the years – giving us depth that makes the whole thing an amazing listen time and time again. There's some key help along the way – a bit of piano from Don Randi, electric piano from Jack Nitzsche, and even some recording help from Jim Messina – all furthering the warmth of the group's approach. Titles include "Mr Soul", "Sad Memory", "Hung Upside Down", "Good Time Boy", "Rock & Roll Woman", "Broken Arrow", "A Child's Claim To Fame", and "Expecting To Fly". LP, Vinyl record album

Mindblowing minimalism from the legendary Sandy Bull – an artist who might have had acoustic roots in folk music, but who was instantly turning his music into something else – drawing on modal styles of Eastern music, European generations of expression on guitar, jazz-based improvisation – and maybe even prefiguring work to come from composers like Terry Riley and La Monte Young! This album's one of Bull's first, and it's pure genius right from the start – with a side-long performance on the incredible "Blend", which features slight drums from jazz musician Billy Higgins – which Sandy extrapolates these long passages on acoustic guitar. Side two features the fantastic "Carmina Burana Fantasy" on banjo – a kind of trans-historical performance that's right up there with John Fahey's best of the decade – alongside equally mindblowing "Non Nobis Domine" and "Little Maggie" – and the closing electric guitar genius of "Gospel Tune". (Folk/Country, Rock) LP, Vinyl record album

The first four albums from this crucial group – along with four more CDs of rare live material too! First up is the self-titled Cactus – the first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". On One Way Or Another, Cactus are totally at the top of their game – and the guitar of Jim McCarthy really sets the record on fire, right from the very first note – at a level that should have made Jim one of the real guitar hero legends of his generation! Yet there's also power from the whole group going on too – tight rhythms from the team of Carmine Appice and Jim Bogert, the latter of whom starts to bring in his own vocals a fair bit more, offering backup to the raspy lead of Rusty Day. And while there's a few currents that show their older influence from blues, the sound here is massively hard rock all the way through – making the record a great illustration of the way that slavish blues rock gave birth to a fresh new jamming sound in a matter of just a few short years. Titles include "Rockout Whatever You Feel Like", "Song For Aries", "Feel So Bad", "Rock N Roll Children", and "Hometown Bust". Restrictions is next, and despite the title, there's no restrictions at all – as Cactus seem to be even more confident, more able to stretch their wings and fly than ever before – even adding in some extra piano and keyboards at points to the core guitar-heavy sound of the quartet! All the group's best elements are very firmly in place – searing guitar, righteously confident vocals, and a strutting sensibility that makes this early 70s album way ahead of the game in terms of territory that so many bigger groups would later copy for their own classic records. Titles include "Guiltless Glider", "Evil Alaska", "Sweet Sixteen", "Bag Drag", "Restrictions", and "Mean Night In Cleveland". Ot N Sweaty is a record that's got a bit of a shift in the classic Cactus lineup – as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player – next to some added keyboards from Duane Hitchings, and vocals from Peter French – a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio – each with a nicely different flavor as a result – on titles that include "Swim", "Our Lil Rock N Roll Thing", "Bedroom Mazurka", "Telling You", "Bad Stuff", and "Bringing Me Down". 8CD set is overflowing with great material – bonus tracks added to three of the four albums in the collection, than a further 4CDs worth of live material – titled Fully Unleashed – The Live Gigs Vols 1 & 2. The live material is great – and really shows the tightness of the group at their best! CD

One of John Cale's greatest moments as a solo artist – a wonderfully dark record that also features lots of great guitar from Chris Spedding, plus electronics from Brian Eno too! There's a stark, flat tone to Cale's lyrics here – a quality that almost echoes some of Eno's albums from around the time, especially the first two – but which takes on some shapes and phrasing that are definitely in the spirit of John's larger body of work too. But man, there's some very spooky bits here – even where you wouldn't expect them – that sense of surprise that Cale could always bring to sweeter moments with the Velvet Underground, re-focused here wonderfully for his own needs. Titles include "Cable Hogue", "Engine", "Save Us", "My Maria", "I Keep A Close Watch", "Helen Of Troy", and "Sudden Death" – plus a cover of Jonathan Richman's "Pablo Picasso". CD

An early 70s gem from Captain Beefheart – not as wild-eyed and whacked out as the late 60s glories – but still a good stretch weirder than most of the post psych, blues-steeped rock of the time! Ultimately, it's still Captain Beefheart & The Magic Band, despite it being billed solely to Captain Beefheart on the cover (and his only album NOT co-billed with The Magic Band) – and we'd say it's their first album to go for a consistent mood from beginning-to-end, and we love it for that! If the Trout Mask Replica and Lick My Decals Off Baby records are the more feral early twin masterpieces – we'd say this one and Clear Spot are the wiser and more focused siblings, but no less classic! Tracks include "I'm Gonna Booglarize You Baby","Grow Fins", "There Ain't No Santa Clause On The Evenin' Stage", "Blabbern Smoke", "Alice In Blunderland", "The Spotlight Kid", and "Glider". LP, Vinyl record album

A slightly gentler album than the first Captain Beyond outing – but one that really has the group stretching out their wings wonderfully! The set's recorded both in Macon and Sausalito – and really has a vibe that indicates that mix – a core southern rock element, handled with the soulful undercurrents of early 70s Capricorn Records – but given some freer-thinking elements at times from the Bay Area scene! The drums power through nicely at some of the best points – but even the laidback tunes are pretty darn great – and we honestly never can understand why Captain Beyond weren't as big as some of their contemporaries from the southern scene. Titles include "Starglow Energy", "Evil Men", "Drifting In Space", "Bright Blue Tango", "Everything's A Circle", and "Voyages Of Past Travelers". CD