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OutsideinsideBlue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music.
Blue Cheers second album, Outsideinside, fully matches its predecessors primal power. The last Blue Cheer release to feature the beloved lineup of Stephens, Peterson and Whaley, Outsideinside is a bracing orgy of volume, distortion and aggression, with such highlights as Just a Little Bit, Come and Get It, the instrumental Magnolia Caboose Babyfinger and the bands distinctive take on the Rolling Stones Satisfaction. Like its predecessor, Outsideinside has been out of print on vinyl for decades and has long been prized by collectors.1. Feathers from Your Tree
2. Sun Cycle
3. Just a Little Bit
4. Gypsy Ball
5. Come and Get It
6. (I Can't Get No) Satisfaction
7. The Hunter
8. Magnolia Caboose Babyfinger
9. Babylon$24.99Vinyl LP - Sealed Buy Now
Vincebus Eruptum (Awaiting Repress)Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music.
Vincebus Eruptum, Blue Cheers landmark 1968 debut, is widely regarded as Ground Zero of the heavy metal explosion. The album, featuring the classic Blue Cheer lineup of guitarist Leigh Stephens, bassist/vocalist Dickie Peterson and drummer Paul Whaley, includes the trios mind-melting reading of Eddie Cochrans Summertime Blues, which became a Top 20 single, along with such raw, overdriven originals as Doctor Please and Second Time Around and distinctive reworkings of the blues standards Rock Me Baby and Parchment Farm. Long out of print on vinyl, with original copies trading for steep collectors prices, this legendary debut is available once again in its original format, complete with its unique original cover design.1. Summertime Blues
2. Rock Me Baby
3. Doctor Please
4. Out of Focus
5. Parchment Farm
6. Second Time Around$24.99Vinyl LP Mono - Sealed AWAITING REPRESS Buy Now
The Tel-Star Sessions
Limited-Edition White Vinyl With Special Art
Newly Mixed & Mastered
The Mule's previously unreleased original recordings from 1994 are coming!
In early summer of 1994, while on break from Allman Brothers work, the original Mule line-up of Warren Haynes, Allen Woody, and Matt Abts assembled at Tel-Star Studios outside Sarasota, Florida, to lay down on tape their vision to exhume the rock power trio - their influences ranging from Cream and Jimi Hendrix Experience to Blue Cheer and ZZ Top.
Says Warren, "Allen Woody had plenty of ideas in that department -- starting with simultaneously bringing back the 'rock bass' sound. Along with our discussions about the 'power trio' being missing from the current musical landscape were the discussions of how the sound of the bass guitar had gotten progressively 'cleaner' since the '80s (or late '70s), and how that affected the overall feeling of the music. So, when we went in to the studio to do our first recording sessions, part of our mission was to capture an old familiar sound as well."
What resulted from those sessions was the key soundscape of the band's rawness and excitement that Mule fans will love: straight-ahead rock- and blues-based song structures, explorative but tight and tough as a clenched fist. And while their search for that old familiar sound bore great creative fruit, these recordings also reflect the times in which they were recorded: there are interesting Soundgarden- and Alice In Chains-like musical references to grunge and the alternative rock sound that emerged from the early and mid-'90s.1. Blind Man In The Dark
2. Rocking Horse
3. Monkey Hill
4. Mr. Big
5. The Same Thing
6. Mother Earth
7. Just Got Paid
8. Left Coast Groovies
9. World Of Difference
10. BONUS TRACK: World Of Difference (Alternate Version/Original Mix)$33.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
REDI-SUN-5817xThe Pleasure Seekers
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now
Sleeping Through The WarProduced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons)
and mixed/engineered by UK-bred young-gun Eddie Spear, All Them Witches'
"Sleeping Through The War" is the quartet's most bold and well-crafted record
to date. The album's creation marks the f irst time in the band's history that
a record was written before entering the studio. This process allowed for an
alignment of the band's art, desire and time. Convening in Nashville for only
six days after a year of relentlessly touring their New West Records debut
"Dying Surfer Meets Their Maker," the band's spirit coalesced in a rhythm of
statement and melody that simply needs to be heard...repeatedly.
With the guidance of Cobb and Spear, "Sleeping Through The War" captures the
truest energy of the group, full blast, fun and contemplative. The record was
made with volume in mind. "Sleeping Through The War" is meant to be played
loud, cranked up and without reservation. Feel it live through your stereo
system or listen to it speak in tongues through your headphones.
The sounds are nothing without the songs and the songs are nothing without
the lyrics. This record is a result of constant touring, world travel,
overstimulated/divided humanity, and a learning of awareness and compassion.
"They are the real deal - psychedelic blues-rock warriors who pray at the
altar of Black Sabbath, space out like Pink Floyd and shred away their
bummers like Blue Cheer." - Spin1. Bulls
2. Don't Bring Me Coffee
3. Bruce Lee
5. Am I Going Up?
7. Cowboy Kirk
8. Internet$20.99Vinyl LP - Sealed Buy Now
ADAD-SUB-4711xComets On Fire
Blue CathedralThis is the Bay Area band's third album and first for Sub Pop; it's also their most varied and richly textured. On Blue Cathedral, their trademark modern psychedelic sound is enriched by more structured, keyboard-driven jams, churning out Blue Oyster Cult-ish chooglers and slow burners reminiscent of Harvest-era Pink Floyd. Comets On Fire deserve our gratitude...for their distillation of all the best rock riffs since High Rise's take on Blue Cheer...--Julian Cope.1. The Bee and the Cracking Egg
2. Pussy Foot the Duke
3. Whiskey River
5. The Antlers of the Midnight Sun
6. Brotherhood of the Harvest
7. Wild Whiskey
8. Blue Tomb$16.99Vinyl LP - Sealed Buy Now
REDD-RIS-7546xUncle Acid & the Deadbeats
Pusher Man (Awaiting Repress)Limited Edition Pressing
Everybody's favourite band, Uncle Acid, release a new single, Pusher Man on Rise Above Records. The single is backed by Remember Tomorrow, an Iron Maiden cover, initially available on a Kerrang (legendary UK magazine) cover-mount CD.
Pusher Man is taken from the bands fourth album, The Night Creeper, which was released to much acclaim in July of last year. The track was recorded as part of the album sessions at Toe Rag Studios in early 2015 with engineer Liam Watson (White Stripes, Tame Impala, Electric Wizard).
They released their breakthrough album Blood Lust in 2011, a homage to British Hammer and folk horror films of the 1970s, a candle-lit head-trip of withered hands, ritual knives and gallows ropes. Mind Control (2013), their third album, looked further afield, to the post-Charles Manson US for inspiration: Jim Jones dosing the Kool-Aid. Blue Cheer, Blue Oyster Cult and B-movie biker movies. War, Watergate, serial killers and suicidal TV evangelists.1. Pusher Man
2. Remember Tomorrow$16.997 Vinyl Single - Sealed AWAITING REPRESS Buy Now
Do What Comes NaturallySome people call it a vibe and some people call it a groove. We call it boogie soul. It's the sound of HANDSOME JACK on their new album "Do What Comes Naturally". Produced by Zachary Gabbard of the BUFFALO KILLERS and featuring Bob Nave (of the legendary Lemon Pipers) on hammond organ, among others, the music of this album seamlessly flows through deep dark mid-tempo boogies, smoky upbeat burners, and soulful feel-good rockers all with a natural ease. HANDSOME JACK hails from Buffalo NY and began as a blues garage rock band. After high school they moved out of the garage and developed their sound into a natural soulful boogie mthat remains rooted in raw blues. They've shared the stage with The Sheepdogs, Blue Cheer, Gov't Mule, J. Geils, The Hold Steady, and Robert Randolph to name a few.1. Echoes
3. Between The Lines
4. Dead Tracks
5. Leave it All Behind
6. Right On
7. Dry Spell
8. Ropes and Chains
9. You and Me
10. Wasted Time$18.99Vinyl LP - Sealed Buy Now
Red WeatherAfter leaving Blue Cheer in 1969, guitarist Leigh Stephens, whose pulverizing roar was an essential element of the band's original sound, made his solo debut with Red Weather. In contrast to his former band's stripped-down metallic blast, Stephens spread his musical wings to explore new musical territory. Although Stephens' trademark guitar sound is still prominent, it's featured in a more eclectic context that encompasses elements of avant-psychedelia and electric blues. Also featured is stellar piano work by legendary English pianist Nicky Hopkins.1. Another Dose of Life
4. I Grow Higher
5. Red Weather
6. If You Choose Too
7. Joannie Mann
8. Chicken Pot Pie$24.99Vinyl LP - Sealed Buy Now
InnerSpeakerTame Impala are a rainbow sandstorm of stoned riffage, mindbending melody and blissed out adventurism from the most isolated city in the world who echo the lighter side of Cream, Blue Cheer and Kyuss. This is the long-awaited fully distributed release of their debut album, Innerspeaker in North America.
Innerspeaker is Tame Impala's chance to paint a far more extensive picture, and sure enough it redrafts the entire Tame Impala world as we knew it into an explosive, cosmic wonderland of ecstatic harmony and perfectly accessible journeys into inner space.
Recorded and produced by the bands own Kevin Parker with Death In Vegas Tim Holmes on the engineer duties, in an enormous mansion with 180 degree views of the Indian Ocean. It was then mixed in upstate New York, by renowned sonic maverick Dave Fridmann (MGMT/Flaming Lips).1. It Is Not Meant To Be
2. Desire Be Desire Go
3. Alter Ego
5. Why Won't You Make Up Your Mind
6. Solitude Is Bliss
7. Jeremy's Storm
9. Bold Arrow Of Time
10. Runway Houses City Clouds
11. I Don't Really Mind$24.99Vinyl LP - 2 LPs Sealed Buy Now
Better Living'Better Living' features twelve brand new tracks including current single 'Country'/ 'Moonwalk' and their cover of Hellhammer's 'Crucifixion'.
The album marks a progression from the bands early material and takes influence from a wide range of 'heavy' guitar music with nods towards the likes of Black Sabbath, Napalm Death, Blue Cheer, Crass, Heresy, Saint Vitus, Darkthrone, Anthrax and Discharge.1. Foxtrot
10. Macabre Unit
12. Mambo$15.99Vinyl LP - Sealed Buy Now
New BeginningsRADIO MOSCOW are a perfect example of the classic full-throttle power trio. Though by no means devoid of nuance and detail, the first thing one notices while standing in front of the band as they begin to unleash their stage show, is the feeling of being blown back by a whirlwind of energy and power, concocted by three guys locked in a groove. Led by Stratocaster genius Parker Griggs, RADIO MOSCOW have carved their own sonic niche fusing crunching, heavy Sabbath-style chords with fiery 'Hendrixian' solos and a raw intensity that is addictive and captivating, also citing the likes of Cream, Blue Cheer and Led Zeppelin as further influences.
Now, RADIO MOSCOW are gearing up for an exciting new chapter in their career with the release of the fifth studio album "New Beginnings" on Century Media Records. From the bursting guitar licks of opening track "New Beginning" over to the road dog anthem "Driftin'" and the Hendrix-like groove of "No One Knows Where They've Been", from the pounding "Pacing" to moody album closer "Dreams", RADIO MOSCOW present an authentic and electrifying mix of versatile guitar play, the passionate raw howl of Parker Griggs and a tight, energetic rhythm section. Sure, this is retro, but it's executed with heart, soul and class!1. New Beginning
3. Woodrose Morning
5. No One Knows Where They've Been
6. Last to Know
7. New Skin
9. Pick Up the Pieces
10. Dreams$32.99Vinyl LP + CD - Sealed Buy Now
Die ScreamingSomething sinister is looming in the mist - a ghastly three-headed apparition, equal parts riffage & rancour and fuelled by a steady diet of garage rock 7-inches played at 33RPM and horror movies watched at 5AM, the primeval force of Satan's Satyrs is returned to the earth to lay waste to everything in its path.
Rising from the primordial ooze of Herndon, Virginia Satan's Satyrs hit the metal underground like a tidal wave of sulphur with their debut proper, 2012's Wild Beyond Belief. This almighty assault, almost entirely the work of chief Satyr Clayton Burgess, was a harrowing blast of fuzz-drenched aggro - a clash of Venom-esque metalpunk squalor and in-the-red garage-rock dementia.
With Jarrett Nettnin soon joining the fray on guitar and Stephen Fairfield on drums, the power-trio were soon invited by Electric Wizard to 2013's Roadburn Festival, which they graced with two scorching sets, one being entirely comprised of cuts by their heinous heroes Blue Cheer. Yet the three-piece, despite being barely into their twenties, weren't about to rest on their laurels. What's more, the result of their onward march into grisly pastures new is the more mature yet no less malicious new opus, 'Die Screaming' which sees it's European release via Bad Omen Records in 2014.
This time around, the band set about expanding their sound, maintaining their trash-obsessed aesthetic whilst sharpening their songcraft to produce an album possessed of both mighty heaviosity and incisive hooks. Bolstered by roaring Hammond and percussive ornamentation that bring still more Hammer Horror atmosphere to the fray, 'Die Screaming' transcends the band's Black Sabbath, Stooges and Black Flag influences to arrive at a relentlessly gory and gung-ho assault on the senses. One minute, this terror-troupe are dishing out the rotten rock n'roll of 'One By One (They Die) and Curse Of The Corpse, which stalk the Earth like the reanimated corpses of Budgie and Blue Oyster Cult records past. The next, on the jaw-dropping title-track, they're throwing Death SS, the Alice Cooper of Sick Things and Scott Reagers-era Saint Vitus into a bubbling cauldron and standing well back. Yet at all times Satan's Satyrs' gonzo attack is authentically red in both tooth and claw.
Rising high above the overkill of self-styled occult rock that lurks in the underground at present. Satan's Satyrs are blazing a trail through a nightmarish world of battered VHS videos, overheated ampstacks and dog-eared vinyl, and are a band fit to set the pulse of any self-respecting trash connoisseur racing. With 'Die Screaming', they're set to carry out the Devil's bidding across the globe with uniquely sordid and salacious style.1. Thumper's Theme
2. Instruments of Hellfire
3. Curse of the Corpse
4. Black Souls
5. Show Me Your Skull
6. One By One
7. Lucifer Lives
8. Die Screaming$34.99Vinyl LP - Sealed Buy Now
SeismicA good two decades after forming, Toronto ON's Sons of Otis have evolved but stayed true to their roots by keeping things simple, engaging and absolutely bone-crushing. Seismic is an album of solid, bombastic steamroller rock'n'roll - slow, but deadly to anything in its path. It's like Negative Reaction had a kid with Electric Wizard that was all heavy riffs and psychedelic psychosis, ready to rumble at the ring of the bell. Things even get Blue Cheer-y on the stomping, fuzz-laden rocker, "Never in My Life," and a bit of Led Zeppelin blues comes out in the closing "Cosmic Jam." Crack 'em open, light 'em up and brace yourself for the earthquake, because it's coming.
April 2013 - Issue #72 - The Big Takeover1. Far From Fine
6. Never In My Life
7. Cosmic Jam$23.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Edgar Winter's White Trash (Speakers Corner)Question: What is whiter than white? There's only one answer: Winter - Edgar Winter. While his equally pale-faced brother Johnny turned towards black music with a country-blues touch (Columbia KCS 9949 and CS 9826), Edgar was inspired by the traditional big-band sound. The brotherly link paid off, for it freed the talented Edgar from having to make strenuous appearances at night in clubs and gave him the chance to join his older brother in the recording studio.
After his successful debut release Entrance, Winter gathered an all-star band around him and entered the studio to record White Trash, which landed a smash hit on the US charts. And no wonder - for these soul rockers give everything in a unique mixture of funk, blues and rock 'n' roll. Right from the first number Give It Everything You Got, a broadly striding rock title with brass, the whole album is bursting with energy and a great atmosphere. Wiry blues with meaty vocals enough to make your hair curl (I've Got News For You) is followed by the demand - in meaty, snapped phrases - for cheerful rock 'n' roll (Keep Playin' That Rock And Roll). And let's not forget the sometimes madly intertwined solo parts, where the musicians really let off steam. A true celebration of rock 'n' roll.
- Edgar Winter (vocal, piano, organ, alto saxophone)
- Jerry laCroix (vocal, tenor saxophone, harp)
- Floyd Radford (guitar)
- Johnny Winter (guitar)
- Rick Derringer (guitar)
- Jon Smith (vocal, tenor saxophone)
- Mike McLellan (vocal, trumpet)
- George Sheck (bass)
- Bobby Ramirez(drums)
Recording: 1971 by Pete Weiss - Production: Rick Derringer
Production: Bob Thiele
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Give It Everything You Got
2. Fly Away
3. Where Would I Be
4. Let's Get It On
5. I've Got News For You
6. Save The Planet
7. Dying To Live
8. Keep Playin' That Rock 'N' Roll
9. You Were My Light
10. Good Morning Music$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$100 FineHow do you top THE LITTER'S godlike '67 longplayer, Distortions? Well, you don't. But leave it to THE LITTER to deliver the equally essential (not to mention hopelessly rare) '68 follow-up, $100 Fine. From the ultra-explosive album opener, "Mindbreaker" (where the Distortions sound now takes on Blue Cheer-like heaviosity) to the LP's epic finale; a nine-minute, ambitiously retooled "She's Not There," $100 Fine ranks as one of its era's masterpieces.
In a tradition established on Distortions, THE LITTER again prove they were the most totally inspired - no, make that totally English-inspired - cover band to invade a US recording studio. $100 Fine includes exceptional covers of Jeff Beck ("Tally Man"), newcomers Procol Harum ("Kaleidoscope"), and last but certainly most obscure, a cover of "Here I Go Again" by Eire Apparent.
But what separates $100 Fine from its predecessor is the emergence of original material; from the 'Fresh Cream'-style harmonica wailer "Blues One" to heavier psychedelic fare like "(Under the Screaming Double) Eagle." For further enticement, we should mention everything is drenched in double-tracked, screaming fuzz from Midwest guitar legend Tom "Zip" Caplan. Unfairly rare but now rescued by Sundazed and sounding exactly like it should. PLAY LOUD!!!! PLAY EVEN LOUDER!!!!1. Mindbreaker
3. Here I Go Again
4. Morning Sun
5. (Under the Screaming Double) Eagle
6. Apologies to 2069
8. Blues One
9. She's Not There$24.99Vinyl LP - Sealed Buy Now
Limited Edition 7-Inch Vinyl EP
Metallic Silver Jacket
Blind Assortment Variant B-Sides
The legendary Misfits first holiday release (outside of Halloween of course), creeps down your chimney in the form of the Horror Xmas EP! Side one unwraps a fiendish cover of the Dr. Seuss classic, You're a mean one, Mr. Grinch. True to the original, yet fueled by the band's signature sound, Jerry Only's ominously melodic baritone lead vocals, and guest backing vox by John Cafiero ( Osaka Popstar), the 'fits slap devilocks on every Who down in Whoville...
An infectious all-new original Misfits Xmas themed song (written by founding member Jerry Only) entitled Island of Misfit Toys debuts, and the band's long anticipated rendition of Blue Christmas surfaces in a full studio version that would even make the King himself snarl with holiday cheer. The Misfits serve up a nightmare before Xmas destined to become an annual tradition.1. You're A Mean One Mr. Grinch
2. Island Of Misfit Toys -or- Blue Christmas (Variants Shipped At Random)$9.997 Vinyl EP - Sealed Buy Now
PHOXPHOX is a bunch of friends from the Midwestern circus hamlet, Baraboo, WI, a place where kids often drink poisoned groundwater and become endowed mutants. They make music that straddles Feist and Monty Python.
It was in Baraboo that the six unlikely musicians attended high school together, some playing on the soccer field, others on video production sets. But in a town with a drive-your-tractor-to-school day, they didn't last.
They did the thing that most people do when they are 18: they fled the coop, each going their separate ways (to film school, cosmetology school, a job with Homeland Security ). But promises were made that couldn't be kept, and as they fell in unrequited love and lost their respective jobs, in spite of themselves, each simultaneously pulled the ripcord and came home.
The sextet promptly (-ish) got a house together in the Portland of the heartland, Madison, WI. As prolifically documented in their online video series, PHOX rekindled their onetime A/V production house while discovering how to live as a family (i.e. how not to berate each other about the hair in the sink).
After two years of cohabiting, PHOX beheld a demo reel of bedroom-recorded music (and home movies) that made Bon Iver and The Fray recording engineer Brian Joseph blush. Donning his producer's cape (and occasional lab coat), Joseph cheer-led the band through its debut album at April Base Studios in Eau Claire, WI.
Joseph's enthusiasm propelled the band through the production of more than a dozen songs that have been swimming in the think tank for two years.
Mixed by Michael Brauer at Electric Lady in NYC, their debut album is a school of simple folk-pop songs swimming amidst a chaotic eddy of rock, psychedelia, and soul.
If the goal here is friendship, PHOX is doing quite well. If the chosen path is blue collar pixel-pushing and church camp trust falls, they're on the way. And if their only coping mechanism is to lay down their arms and, for 30 or 45 minutes a day, shut up and listen to each other, you can't be too upset.1. Calico Man
3. Slow Motion
8. Shrinking Violets
9. Satyr and the Faun
10. Noble Heart
111. Raspberry Seed
12. In Due Time$16.99Vinyl LP - Sealed Buy Now
Bull Of The Woods (Out of Stock)Re-mastered edition of
the band's 4th album plus the 'lost' third
album, A Love That's Sound
This 2LP set features the re-mastered stereo edition of the 13th Floor Elevators final release, 1968's 'Bull Of The Woods' plus the mono version of the Elevators' lost unfinished third album 'A Love That's Sound'.
The recordings were re-mastered and remixed from the original tapes in 2007 by the original producer Walt Andrus and are presented on heavyweight vinyl in a gatefold sleeve.
This album more than holds up against its predecessors: Sutherland's lovelorn songs inhabiting a bluesier cosmic sound reminiscent of The Grateful Dead, Moby Grape or Blue Cheer - for whom the Elevators were an undeniable inspiration.
The fearless trailblazers of psychedelia and one of the most kick-ass rock bands ever... For two or so years they burned with a flame so fierce that 40 years on they still remain an inspiration
- MojoLP1 - Bull Of The Woods (Stereo)
1. Livin' On
2. Barnyard Blues
3. Till Then
4. Never Another
5. Rose & The Thorn
6. Down By The River
7. Scarlet & Gold
8. Street Song
9. Dr Doom
10. With You
11. May The Circle Remain Unbroken
LP2 - A Love That's Sound (Mono)
1. Wait For My Love
2. It's You
3. May The Circle Remain Unbroken
4. Livin' On
5. Never Another
6. Dr Doom
7. Someday My Love
8. Sweet Surprise
9. Moon Song$31.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock
Blues For The Red Sun (Out Of Stock)Blues for the Red Sun is the second studio album by American stoner rock band Kyuss, released in 1992. Blues for the Red Sun incorporates acid rock, grunge, psychedelic rock, space rock, and doom metal, and has been compared to such acts as Black Sabbath, Hawkwind, Blue Cheer, and Alice in Chains. The album is considered a pioneer to the stoner metal genre.1. Thumb
2. Green Machine
3. Molten Universe
4. 50 Million Year Trip (Downside Up)
5. Thong Song
6. Apothecaries' Weight
7. Caterpillar March
8. Freedom Run
12. Allen's Wrench
13. Mondo Generator
14. Yeah$19.99Vinyl LP - Sealed Temporarily out of stock
Graveyard (Out Of Stock)This Swedish quartet's self-titled debut resurrects the sounds of 70s psychedelic rock. The clash of folk, psychedelic, and blues makes for a mind-bending trip back to the days of Cream, Sabbath, and Blue Cheer.1. Evil Ways
2. Thin Line
3. Lost in Confusion
4. Don't Take Us For Fools
5. Blue Soul
6. Submarine Blues
7. As the Years Pass by the Hours Bend
8. Right Is Wrong
9. Satan's Finest$15.99Vinyl LP - Sealed Temporarily out of stock