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viewing 1 To 22 of 22 items
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LIB 5091CD
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"My brother Dan and I (The Kessel Bros., 2nd generation members of The Wrecking Crew) met Kim around the early days of the Runaway's. He was a very cool guy with a quick wit and special vocabulary. We ended up doing several projects and recordings with Kim. We helped with his girl group the Orchids and the Vampires from Outer Space Album. During this period my brother and I were doing our own projects (involving The Ramones, Blondie, Rodney Bingenheimer, the Go Go's, and Co-Productions with Brian Wilson and the Honeys/American Spring) and working as second-generation Wrecking Crew members on Phil Spector records. This included recordings with John Lennon, Cher, Harry Nilsson, Dion, Leonard Cohen with Bob Dylan, the Ramones, and Celine Dion amongst others. We were hanging out with Kim and he said 'Why don't you guys produce me, that could be cool.' So, we went into a funky studio on Hollywood Blvd across from the Chinese theater and proceeded to write some songs in the studio. Our mutual friend, DJ legend Rodney Bingenheimer said 'Don't make it sound too expensive or you lose the LO-FI grove that was happening in Punk Rock at the time.' We structured these songs on the spot so there are no bridges on any of the songs. This album was an accident on purpose, and Kim ends up sounding like a Punk Rock Leonard Cohen. Laying it on the line. This was recorded in 1978 and has not come out as an album until now. The tapes kept getting lost and rediscovered."
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LIB 5041CD
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"This lineup includes the classic Groovies core of Cyril Jordan, George Alexander, and Chris Wilson, and was recorded in October 1980 just as the band's contract with Sire Records expired, introducing an element of uncertainty into the band's future. This 12-track live set list from San Francisco, with three bonus tracks, features their classic takes on the Beatles, Stones, Byrds, and some classic Flamin' Groovies rock numbers. This show has never been available in any format."
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LIB 5146CD
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"One of the original early UK punk bands, 999 formed in London in December of 1976. Formed by lead singer Nick Cash (of pub rockers Kilburn and the High Roads) and guitarist brother Guy Days, the group were intact into the mid-1980s with band members Jon Watson on bass and Pablo LaBritain on drums. They're best known for their pop-punk classic tracks 'Homicide,' 'I'm Alive,' 'Nasty Nasty,' and 'Emergency,' which was voted one of the all-time best punk singles by Mojo magazine. The band toured the world throughout the later 1970s, making their way to the US on tours in 1978 and '79. On the 1979 tour they came through California, playing the famed Old Waldorf on July 2. That show was captured and recorded by KALX DJ and engineer Terry Hammer. The seventeen-track set makes its official release debut here with eleven on vinyl. Included are all of the band's best-known tracks at the usual fast-paced energetic style that 999 is most known for. The package includes liner notes from front man Nick Cash with rare photos from the time period. A must have for punk rock fans and collectors."
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LIB 5140LP
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"Samuel John Hopkins was born in 1912 to a poor sharecropping family in Centerville, Texas. He immersed himself in the blues at an early age, having met Blind Lemon Jefferson at a church picnic not long after having struck out on his own. In 1946, Hopkins was 'discovered' by Aladdin Records' talent scout Lola Anne Cullum, who convinced him to travel to Los Angeles from Houston. There, he cut sides both as a solo artist and as part of a duo with pianist Wilson Smith. It was during his stint at Aladdin that he acquired his nickname, while his partner was dubbed 'Thunder.' Shortly thereafter, Hopkins returned to Houston, his home base for the balance of his life. The legendary blues guitarist performed at Los Angeles' famed Ash Grove venue on many occasions over the club's decade-and-a-half existence. Ten of the selections on this set are compiled from two separate performances at the club, and none of the performances on the album have previously been available commercially. The album's A-side consists of acoustic tracks from a set recorded on November 29, 1970. The B-side collects a couple of acoustic performances from September 22, 1965, and the disc is rounded out with four electric tracks with his band from Palo Alto's In Your Ear club recorded on August 18, 1971. While most of the tunes are originals, the set lists include some distinctive cover versions of the R&B classics 'What I'd Say' and 'Hi-Heel Sneakers,' along with some folk/gospel nuggets, 'Don't The Moon Look Pretty' and 'How Long Has It Been.' Whether solo or with a band, Hopkins imprints all the tracks with his special electricity; you might call it 'Lightnin'.' The 40-minute live collection LP has a limited-edition pressing on black vinyl. Includes some rare photos and liner notes."
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LIB 5140COL-LP
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Blue color vinyl version. Indie exclusive. "Samuel John Hopkins was born in 1912 to a poor sharecropping family in Centerville, Texas. He immersed himself in the blues at an early age, having met Blind Lemon Jefferson at a church picnic not long after having struck out on his own. In 1946, Hopkins was 'discovered' by Aladdin Records' talent scout Lola Anne Cullum, who convinced him to travel to Los Angeles from Houston. There, he cut sides both as a solo artist and as part of a duo with pianist Wilson Smith. It was during his stint at Aladdin that he acquired his nickname, while his partner was dubbed 'Thunder.' Shortly thereafter, Hopkins returned to Houston, his home base for the balance of his life. The legendary blues guitarist performed at Los Angeles' famed Ash Grove venue on many occasions over the club's decade-and-a-half existence. Ten of the selections on this set are compiled from two separate performances at the club, and none of the performances on the album have previously been available commercially. The album's A-side consists of acoustic tracks from a set recorded on November 29, 1970. The B-side collects a couple of acoustic performances from September 22, 1965, and the disc is rounded out with four electric tracks with his band from Palo Alto's In Your Ear club recorded on August 18, 1971. While most of the tunes are originals, the set lists include some distinctive cover versions of the R&B classics 'What I'd Say' and 'Hi-Heel Sneakers,' along with some folk/gospel nuggets, 'Don't The Moon Look Pretty' and 'How Long Has It Been.' Whether solo or with a band, Hopkins imprints all the tracks with his special electricity; you might call it 'Lightnin'.' The 40-minute live collection LP has a limited-edition pressing on black vinyl. Includes some rare photos and liner notes."
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LIB 5120LP
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Limited available stock. "Mejor De Los Nuggetz is a collection of 1960s hyper kinetic garage, punk, pop and psychedelic music from Mexico and other Latin American countries. While the inspiration for this collection has been the enduring influence of American garage and psych bands from the '60s, it is an introduction to the amazing variety of Mexican and Latin American rock from that era. Magenta red vinyl. Featuring Los Apson, Los Mustang, Los Shain's, Estacion ID, Gloria Benevides, Los Polares, Los Salvajes, Volkswagen, Lone Star, Los Yaki, Los Belmonts, Los Matematicos, Los Locos Del Ritmo, and Coca Cola."
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LIB 5103LP
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"Touring in support of their fifth studio album Airborne, The Flying Burrito Brothers performed at the legendary New York City venue, The Bottom Line on August 18, 1976. This 12-track set features many of their classic tracks alongside a few C&W standards. The group's line up consisted of Skip Battin and Gene Parsons (both ex-Byrds band members), along with Gib Guilbeau, Joel Scott Hill and original Burrito pedal steel legend, 'Sneaky' Pete Kleinow. This live recording is previously unreleased. 1976 was a great year for re-iteration of the Flying Burrito Brothers having the opportunity to travel throughout the USA celebrating the 200th Anniversary of the founding of the United States. Though Gram Parsons wasn't around anymore, Chris Hillman embarked on a solo career, and Chris Ethridge had just departed this band, we had some great guys that just happened to be really familiar with the 'Burrito' mentality. It all came together quite spectacularly! To begin, Gib Guilbeau was my life-long pal and Cajun guy par excellence. Gene Parsons, formerly of the Byrds, was he drummer from hell who lifted the excitement to the limit (and picked a great banjo and string bender guitar. What can I say about Joel Scott Hill? A rebel? A reverent fanatic? A soulful and emotional artist? ALL of the above! Then there is Skip Battin, who just joined the band whom everyone loved and called friend who provided very original bass and vocal support. All these cuts are genuine items from a live performance at New York City's legendary "Bottom Line" club with all the warts AND magical moments. No fix ups and no apologies. Just real music and true enthusiasm. This was the way it was when he hit the road in 1976!" --Sneaky Pete, 2001
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LIB 5130LP
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"Phil Ochs is known primarily as a songwriter but his talents extend far beyond that, to short stories, poetry and satire. More than a torrent, less than a flood, the songs poured out of Phil so quickly that not all were able to find their place on his albums with some of those songs only emerging decades later. The Warner/Chappell demos, which make up the main portion of this, represent a time period spanning Ochs' last two albums for Elektra when Phil was finding his full strength as a songwriter and moving to include the lyrical in his repertoire, alongside the topical and satirical. Released on CD in April 2020 this 20-song set makes its vinyl debut on 2 LPs."
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LIB 5143CD
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"A 1971 performance from Muddy Waters from one of the most important singer-songwriter/guitarists of the post-modern blues era. Rock and roll hall of fame inductee Muddy Waters is one of the most important singer-songwriter/guitarists of the post-modern blues era. His early 1960s touring of the UK inspired many British musicians including the Rolling Stones that took their name from his classic song, 'Rollin' Stone'. Over the '60s into the early 1970s Waters became an international force performing on various bills and artist pairings on club, concert hall and festival stages. This eight-song never before released set was recorded at the legendary Ash Grove club in Los Angeles over the Blue Summit weekend (with Freddie King and Lightnin' Hopkins) over July 27-August 1, 1971. The show was recorded not long before his infamous London sessions recordings. That album was one of his six Grammy winning Traditional Folk recordings throughout the '70s."
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LIB 5049LP
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"Yellow vinyl. Eldee Young and Redd Holt were former members of the Ramsey Lewis Trio. In 1966 they started up the Young-Holt Unlimited establishing themselves as one of the best-known instrumental groups mixing jazz and R&B into songs that captured the essence of the late '60s and early '70s music. The group are best known for their 1968 top 10 hit 'Soulful Strut' and recorded nine albums over their career with this 1973 album capturing many the soul hits of the moments. This nine-track set is a crate digger and DJ's delight with classic period packaging capturing the Blaxploitation film sounds and style of the time."
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LIB 5011LP
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"One of rock & roll's pioneers of shock rock, the indescribable Screamin' Jay Hawkins paved the way for music performance art and glam artists to come. His classic 'I Put A Spell On You,' included on this set, was banned from radio in 1956 for sexual overtones. His legendary performances had him dressed in gold and leopard costumes with props including rubber snakes, a smoking skull on a stick, and his signature coffin. Over his career he didn't record many studio albums. In 1972 he released A Portrait Of A Man and His Woman. Long out-of-print, it was re-released on CD in 2001 as My Little Shop Of Horrors, adding a recording of his signature hit, 'I Put A Spell On You,' which included cover versions of Conway Twitty's 'It's Only Make Believe,' Fats Domino's 'Please Don't Leave Me,' and Jesse Belvin's 'Guess Who.' This 12 track CD reissue makes its vinyl debut here."
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LIB 5114CD
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"Walter E. 'Furry' Lewis was born in Greenwood, Mississippi in the 1890's. It was in Memphis in the late 1920's that Furry began recording for Vocalion and RCA Victor. When the depression hit, blues recording slowed down considerably. And as the thirties marched forward, country blues records sold less and less. Furry Lewis, like so many great bluesmen, slipped into oblivion. He made his living as a street cleaner for too many years. In the late Fifties, Sam Charters rediscovered Lewis and recorded him for Prestige. But Furry still had to make his living in the Memphis sanitary department with no means of making another career in music and with no knowledge of the social security to which he was entitled. By the late sixties, things began to stir in earnest, and his musical career took on a second life. His playing is not strictly in the Mississippi delta tradition. Aside from ragtime and Southern Tennessee blues influences, Lewis is uniquely creative unto himself. He uses the guitar in very untraditional ways, as a drum, as a second singing voice and as a walking bass. You can hear all of these techniques on this recording. This album was recorded at the Gaslight in New York City's Greenwich Village in September 1971. It was Furry's first New York appearance in well over twenty years. The occasion was this live performance that was arranged by writer Jim Nash, who had learned of Furry Lewis from Jimi Hendrix several years earlier. A justifiable analogy can be drawn between the late Hendrix and Furry. Both have used the guitar in unusual and creative ways that are outside its tradition realm, and both have proved themselves as master showmen. The set makes its CD debut with this release."
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LIB 5074LP
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"It's hard to let go of a good thing. More than four decades after the Mutants first appeared on the San Francisco underground music scene, four of the original members are still playing shows together under that name in 2022. After all, mutants are known to mutate, and that's what this colorful, energetic musical collective has been doing off and on since 1977. Perhaps even more surprisingly, the sessions for their lone album, 1982's Fun Terminal, continue to bring forth lost nuggets. In punk and new wave lore, Fun Terminal is considered a troubled project. Prior to the album's appearance, the Mutants had released only one 7-inch single -- 1980s' The Mutants EP -- and the band also had songs featured on two local compilations. Both the EP and one of the compilations were issued by 415 Records, the legendary Bay Area indie that made the jump from the new wave trenches to the majors when they signed a deal with Columbia Records in 1981. Many scenesters felt that the Mutants should have begun album sessions for 415 immediately after the EP, but that didn't happen. Each of the 14 tracks on the new collection, Curse Of the Easily Amused" has either been remixed, or sourced from previously unreleased tapes. 'From the band's point of view, each cut is a substantially different version than what might have appeared before,' explains current Mutants bassist and project producer Peter Conheim. Eight songs have never been officially released on vinyl or CD in any form. The versions of 'Think Think Think' and 'Tribute to Russ Meyer' feature radically different approaches than what was heard on the Fun Terminal reissue. We recently rediscovered a tape reel that included those songs. The Mutants discarded or forgot about a ridiculous amount of music during its first eight years. Audio quality for all the tracks here is superior to anything that's come before. No overdubs were used in preparing this release."
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LIB 5102CD
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"Touring in support of their fifth studio album Airborne, The Flying Burrito Brothers performed at the legendary New York City venue, The Bottom Line on August 18, 1976. This 12-track set features many of their classic tracks alongside a few C&W standards. The group's line up consisted of Skip Battin and Gene Parsons (both ex-Byrds band members), along with Gib Guilbeau, Joel Scott Hill and original Burrito pedal steel legend, 'Sneaky' Pete Kleinow. This live recording is previously unreleased." "1976 was a great year for re-iteration of the Flying Burrito Brothers having the opportunity to travel throughout the USA celebrating the 200th Anniversary of the founding of the United States. Though Gram Parsons wasn't around anymore, Chris Hillman embarked on a solo career, and Chris Ethridge had just departed this band, we had some great guys that just happened to be really familiar with the 'Burrito' mentality. It all came together quite spectacularly! To begin, Gib Guilbeau was my life-long pal and Cajun guy par excellence. Gene Parsons, formerly of the Byrds, was he drummer from hell who lifted the excitement to the limit (and picked a great banjo and string bender guitar. What can I say about Joel Scott Hill? A rebel? A reverent fanatic? A soulful and emotional artist? ALL of the above! Then there is Skip Battin, who just joined the band whom everyone loved and called friend who provided very original bass and vocal support. All these cuts are genuine items from a live performance at New York City's legendary Bottom Line club with all the warts and magical moments. No fix ups and no apologies. Just real music and true enthusiasm. This was the way it was when he hit the road in 1976!" --Sneaky Pete, 2001
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LIB 5059LP
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"One of very few recordings of Kim Fowley to survive and amazingly, he survived this show as the audience boo-ed him off the stage. The band hadn't rehearsed properly and mid-show, the organizer asked the audience if they wanted the show to continue and even though they emphatically said 'NO!!!!', Fowley and the band continued on, oblivious to the jeering audience. Eventually, he was 'removed' from the stage."
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LIB 5075CD
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"It's hard to let go of a good thing. More than four decades after the Mutants first appeared on the San Francisco underground music scene, four of the original members are still playing shows together under that name in 2022. After all, mutants are known to mutate, and that's what this colorful, energetic musical collective has been doing off and on since 1977. Perhaps even more surprisingly, the sessions for their lone album, 1982's Fun Terminal, continue to bring forth lost nuggets. In punk and new wave lore, Fun Terminal is considered a troubled project. Prior to the album's appearance, the Mutants had released only one 7-inch single -- 1980s' The Mutants EP -- and the band also had songs featured on two local compilations. Both the EP and one of the compilations were issued by 415 Records, the legendary Bay Area indie that made the jump from the new wave trenches to the majors when they signed a deal with Columbia Records in 1981. Many scenesters felt that the Mutants should have begun album sessions for 415 immediately after the EP, but that didn't happen. Each of the 14 tracks on the new collection, Curse Of the Easily Amused" has either been remixed, or sourced from previously unreleased tapes. 'From the band's point of view, each cut is a substantially different version than what might have appeared before,' explains current Mutants bassist and project producer Peter Conheim. Eight songs have never been officially released on vinyl or CD in any form. The versions of 'Think Think Think' and 'Tribute to Russ Meyer' feature radically different approaches than what was heard on the Fun Terminal reissue. We recently rediscovered a tape reel that included those songs. The Mutants discarded or forgot about a ridiculous amount of music during its first eight years. Audio quality for all the tracks here is superior to anything that's come before. No overdubs were used in preparing this release."
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LIB 5013CD
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"'60s Brit band The Troggs are garage music forefathers and are cited as influences on numerous alternative and punk bands such as The MC5, R.E.M., The Buzzcocks, The Fleshtones and countless others. Their classic rock hit 'Wild Thing' is an international classic covered numerously from Jimi Hendrix, X, Fancy, and Siouxsie & The Creatures. Other songs are revered and often covered including 'Love Is All Around', 'With A Girl Like You' and 'I Can't Control Myself'. The band recorded four studio albums in the '60s before a hiatus in the early '70s. They recorded two albums in the mid-part of the decade with The Troggs Tapes (not be confused with the legendary spoken word tapes) in 1976. This 12-track album has a '70s glam-punk sound with raucous tracks like 'Supergirl' and 'Down South to Georgia' along with cover versions of Rufus Thomas's 'Walkin' the Dog' and Brendon Dunning's 'Rock and Roll Little Lady'."
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LIB 5076LP
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LP version. "'60s Brit band The Troggs are garage music forefathers and are cited as influences on numerous alternative and punk bands such as The MC5, R.E.M., The Buzzcocks, The Fleshtones and countless others. Their classic rock hit 'Wild Thing' is an international classic covered numerously from Jimi Hendrix, X, Fancy, and Siouxsie & The Creatures. Other songs are revered and often covered including 'Love Is All Around', 'With A Girl Like You' and 'I Can't Control Myself'. The band recorded four studio albums in the '60s before a hiatus in the early '70s. They recorded two albums in the mid-part of the decade with The Troggs Tapes (not be confused with the legendary spoken word tapes) in 1976. This 12-track album has a '70s glam-punk sound with raucous tracks like 'Supergirl' and 'Down South to Georgia' along with cover versions of Rufus Thomas's 'Walkin' the Dog' and Brendon Dunning's 'Rock and Roll Little Lady'."
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LIB 5066LP
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"Flamin' Groovies Now isn't quite as cohesive as Shake Some Action, the album that preceded it, but in many respects the band sounds at once tighter and more relaxed, with some time on the road firming up the rhythm section while giving the songs a bit more room to swing (which wasn't one of the strong suits of the British Invasion bands that provided their aural template)."
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LIB 5037CD
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"The third and last of the Flamin' Groovies late-'70s albums for Sire, Jumpin' in the Night storms out of the gate with the title song, a top-shelf rocker that brings the muscle of the Flamingo-era lineup of the Groovies to the more style-conscious British Invasion sonics of Cyril Jordan's version. Though Jumpin' in the Night never rocks that hard or that well again, it does sound decidedly tighter and tougher than 1978's Flamin' Groovies Now, and guitarist Mike Wilhelm, a new addition to the Now lineup, is much better integrated into their wall of guitars, with the Groovies sounding more solid than they did a year before. But while Jumpin' in the Night finds the Flamin' Groovies sounding better than ever, the material unfortunately lets them down. It's no wonder why the Flamin' Groovies loved the Byrds -- both were American bands who fell in love with the sounds of British rock and crafted their own variation on the style -- but three Byrds covers on this album is about two too many (especially given how clunky David Wright's drumming sounds on '5D'), and though having the Groovies tackle 'Absolutely Sweet Marie' and 'Please Please Me' sounds good on paper, the audible results are a bit underwhelming. (On the other hand, their cover of 'Werewolves of London' is better than anyone had a right to expect.) The production and engineering by Roger Bechirian is crisp and flattering to the guitars, but lacks the resonance of Dave Edmunds' more layered approach on Shake Some Action and Now. A great band, the Flamin' Groovies often seemed to have a hard time reconciling their best qualities with the record-making process, and Jumpin' in the Night is probably the best example of this dilemma, though it has more than enough worthwhile moments to compensate."
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LIB 5001CD
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"The Flamin' Groovies perform live at the Vaillencourt Fountain with the same line-up as the group that recorded for Seymour Stein on Sire Records. The fountain is located in Justin Herman Plaza in San Francisco and was completed two years after the Groovies played there. It may be best known for a 1987 concert by U2, just starting their Joshua Tree tour, when Bono famously spray painted on the fountain and was both praised and criticized for his actions. This soundboard recording was confusingly called 'Jumpin' In The Night', otherwise known as 'Valencourt Plaza' where it was recorded. The concert serves to document a typical Groovies gig of the time with staples like 'Shake Some Action', 'Tell Me Again' and 'First Plane Home', covers of 'Feel A Whole Lot Better', Moby Grape's 'Fall On You', the odd Beatles and even NRBQ's 'I Want You Bad'. The performance was broadcast live on KSAN."
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LIB 5036CD
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"While it took a long and torturous five years for the Flamin' Groovies to find their way back to an American record deal with Shake Some Action, a year and a half later the band had a follow-up ready, and while 1978's Flamin' Groovies Now isn't quite as cohesive as the album that preceded it, in many respects the band sounds at once tighter and more relaxed, with some time on the road firming up the rhythm section while giving the songs a bit more room to swing (which wasn't one of the strong suits of the British Invasion bands that provided their aural template). The band lost guitarist James Ferrell during the post-Shake Some Action tour, but former Charlatans picker Mike Wilhelm proved to be a more than simpatico replacement on these sessions, and while leader Cyril Jordan didn't come up with another new song as transcendent as 'Shake Some Action,' 'All I Wanted' comes pretty close. But it's significant that most of the songs on Flamin' Groovies Now are covers, and while all of them are played with love, enthusiasm, and the right period flair (especially the Beatles' 'There's a Place,' Paul Revere & the Raiders' 'Ups and Downs,' and 'Move It,' an early U.K. hit for Cliff Richard), they give the album a feeling of being padded, and just because covering the Rolling Stones rarity 'Blue Turns to Grey' was a good idea didn't mean the Flamin' Groovies had any business tackling 'Paint It Black.' All in all, Flamin' Groovies Now is a terrific-sounding record that captures a fine band when it was in great form, but it also makes clear that the gremlins that often dogged the Groovies in the studio (namely their inability to make a 100 percent satisfying album) hadn't gone away."
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