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viewing 1 To 23 of 23 items
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LP
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RS 6247CLP
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Exact repro reissue, colored vinyl edition. 2nd WCPAEB album overall, first for Reprise. Originally issued in 1966. "With their soaring psychedelia, achingly pure folk-rock and Zappa/Beefheart strangeness, these seminal underground gems from the West Coast Pop Art Experimental Band -- Part One, Vol. 2 and A Child's Guide To Good & Evil -- can be seen as encyclopedic primers of the late-'60s Los Angeles musical experience."
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LP
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REPRISE 6313HLP
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"Eight high-octane musicians who met and jammed in the great peanut butter octopus that is Los Angeles... move mountains with the bright amalgamation of classical and folk, jazz and rock that is their own special persuasion." 180 gram reissue, manufactured by Rhino. Originally released in 1968.
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MS 2050CLP
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Limited edition colored vinyl version, manufactured by Rhino. Fifth album, originally released in 1972. "The self-produced The Spotlight Kid, with a band consisting again of Zoot Horn Rollo, Rockette Morton and Ed Marimba, joined by Winged Eel Fingerling (Eliot Ingber), guitar, in addition to Drumbo, Ted Cactus and Rhys Clark on drums."
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MS 2252HLP
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The Meters' seventh album, originally released in 1976. Featuring the songs "Disco Is The Thing Today," "Find Yourself," "All These Things," "Mister Moon" and a cover of the Stones' "Honky Tonk Woman." 180 gram exact repro reissue, manufactured by Rhino.
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2LP
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RS 311932LP
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2007 release and Neil Young's 30th studio album. A sequel to the bootlegged, unreleased album from 1977. Includes the song "No Hidden Path." Deluxe full-color gatefold sleeve; includes large-format 16-page booklet.
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LP
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MS 2076HLP
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2016 repress. 180 gram exact repro reissue, manufactured by Rhino. Their fourth album and their first for Reprise, originally released in 1972.
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LP
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MS 2076CLP
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Red colored-vinyl reissue, manufactured by Rhino. Their fourth album and their first for Reprise, originally released in 1972.
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LP
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MS 2228HLP
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Repressed. The Meters' third album for Reprise, originally released in 1975. 180 gram exact repro reissue, manufactured by Rhino.
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LP
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MS 2200HLP
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180 gram exact repro reissue, manufactured by Rhino. "...this is the definitive Reprise album from the Meters, not just because the material is stronger (which admittedly is true), but because the performances are continually inspired and the production is professional but hits at a gut level, resulting in a first-class funk album." -- All Music Guide
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LP
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RS 6420CLP
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Tangerine-colored vinyl reissue, manufactured by Rhino. 4th album, originally released in 1970, following Trout Mask. "Vast scholarly dissertations could be written on Beefheart's brilliant new approach to song lyric. Leaving in the dust both post-Dylan 'poetic' pretensions and the primitive approach which too often mistakes simplemindedness for simplicity, Cap's lines are magic flashfloods of free-association that somehow never get murky, strange jewel-like clusters of images, hilarious little vignettes from the lives of raffish louts and juicy mamas, half-muddled mamma's in coveralls and zoot suits. Robert Crumb could draw them, though in his vision they'd be vaguely threatened or threatening... In Lick My Decals Off, Baby this vision is extended, and even though the sonic textures are sometimes even more complex and angular than on Trout Mask, the lyrics have taken an added universality, many of them stepping back a stride from the kaleidoscopic image-clusters of last year's songs. Lick My Decals Off, Baby is just great bawdy music, as sanguinely sexual as a tale out of Boccaccio." -- Lester Bangs/Creem, 1971.
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LP
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RS 6446HLP
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180 gram exact repro reissue, manufactured by Rhino. Originally released in 1970. "The sister's sound was gutsy gospel wrapped in a rock music package and should have been a huge seller. Of particular interest was 'Yes to the Lord,' a brilliant gospel reworking of Martha Reeves & the Vandella's 'My Baby Love Me.' Also notable were the powerful vocal punches in the ballad 'I'm Ready to Serve the Lord' and the sweet ' The World is in a Change.'" -- Uncloudy Days
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LP
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R 6248HLP
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180 gram exact repro reissue of The Electric Prunes' 1967 debut, manufactured by Rhino. "The Electric Prunes were more of an L.A. studio creation than an actual band, but that didn't stop them from making some of the most highly-prized psychedelic pop albums of all time. Bolstered by the production prowess of Dave Hassinger (Stones, Airplane), and the songwriting smarts of Annette Tucker and Nancie Muntz, the Prunes laid down two of the greatest garage pop anthems of all time ('I Had Too Much To Dream Last Night' and 'Get Me To The World On Time')."
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LP
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RS 6275HLP
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180 gram exact repro reissue of the band's third album, manufactured by Rhino. Originally released in 1968, this bizarre concept album bridges the gap between Gregorian religious music and psychedelic rock, with all songs sung entirely in Latin. The opening track, "Kyrie Eleison," was famously used to accompany the acid trip scene in Easy Rider.
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LP
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RS 6316HLP
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180 gram exact repro reissue of the band's fourth album, manufactured by Rhino. Originally released in 1968, this album continues David Axelrod's interest in combining classical religious music with rock instrumentation, this time taking aim at "The Kol Nidre," a centuries-old Yom Kippur prayer. "Songs like the liturgical 'Holy Are You' and the mostly instrumental 'General Confessional' combine swirling string and woodwind parts with heavy guitar and organ in a more organic and cohesive fashion than before. Musically complex and intriguing without being nearly as pretentious as a capsule description might indicate, Release of an Oath is a remarkable piece of early American progressive rock." -- All Music
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RS 6262HLP
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180 gram exact repro reissue of the band's second album, their truly "out" classic from 1967, manufactured by Rhino. "Underground's evocation of a mysterious psychedelic funhouse that is both enchanting and distressing gets into motion with 'The Great Banana Hoax,' the hoax being that the words have nothing whatsoever to do with bananas or hoaxes. Instead it's a classy pop-psychedelic tune, anchored by killer Mark Tulin bass lines and the group's knack for dramatic stop-start tempos and pauses. Yet the band's love for embellishing tracks with unpredictable, undefinably weird sounds could not be suppressed. That noise near the beginning that sounds like a motorcycle revving up is actually a slowed-down vocal growl; the percussive effects that sound like a rock swirling around a bucket near the end are, Tulin thinks, made by a kalimba brought to the band via Africa. The next three songs seem to drift into a concept album of a psychedelic lost childhood with both blissful and sinister edges, populated by dolls, toys, and kids that inhabit the netherworld between reality and illusion. The best of these, 'Antique Doll,' was written by Annette Tucker and Nancie Mantz, the team responsible for the Electric Prunes' biggest hit, 'I Had Too Much to Dream (Last Night)'; Tucker and Mantz also contributed two other tracks to Underground. The gauzy, moody texture of the cut takes on a particularly creepy edge with the sci-fi-like cries near the end, which Lowe says is 'us crying at double speed. We played around with tape speed a lot.' Childhood imagery is abandoned on 'It's Not Fair,' a standard, if tongue-in-cheek, country-blues tune that derails into a strange spoken coda with maniacally ascending keys, like a wind-up toy suddenly accelerating out of control." -- Richie Unterberger
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MS 2115CLP
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2013 repress; colored vinyl version manufactured by Rhino. 6th album, following The Spotlight Kid. "In 1972, Warner Bros. Records producer Ted Templeman, already riding high with the Doobie Brothers and soon to be known as Van Halen's producer, decided to produce Beefheart. The result was Clear Spot, one of Beefheart's best-sounding records. It's also one of the rare occasions when Beefheart's music survived commercial staging without failure. Throughout the album, the band -- Zoot Horn Rollo, guitar, steel guitar and mandolin; Rockette Morton, rhythm and bass guitar; Ed Marimba (Art Trip), drums and percussion; and Oréjon (Roy Estrada ), bass -- cooks, Beefheart is in great voice and the sound is crystal clear."
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LP
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RS 6247HLP
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Exact repro reissue, 180 gram LP edition. 2nd WCPAEB album overall, first for Reprise. Originally issued in 1966. "With their soaring psychedelia, achingly pure folk-rock and Zappa/Beefheart strangeness, these seminal underground gems from the West Coast Pop Art Experimental Band -- Part One, Vol. 2 and A Child's Guide To Good & Evil -- can be seen as encyclopedic primers of the late-'60s Los Angeles musical experience."
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LP
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RS 6270HLP
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Exact repro reissue, 180 gram LP edition. "Recorded and released in 1967, Volume 2 was actually the group's third LP, but their second for Frank Sinatra's Reprise label. More ambitious, if less consistent, than its predecessor...like Love's Forever Changes, released the same year, the West Coat Pop Art Experimental Band's third LP struck a precarious balance between incisive social commentary, prurience and innocence."
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RS 6298HLP
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Exact repro reissue, 180 gram LP edition. Originally released in 1968. "In many ways Vol. 3 stands as their most extraordinary achievement: a bizarre fusion of innocence and malice perfectly encapsulated by both its title and John Van Hamersveld's striking cover art."
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LP
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RS 6398HLP
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Exact LP repro, 180 gram vinyl. Originally released in 1970. "The covers of 'Jumpin' Jack Flash' and 'Light My Fire' (the latter of which itself had borrowed liberally from Eastern motifs in its original hit version) were the most obvious attempts to reach out to the rock audience. It could even be said that hints of Tommy James's massive late-'60s hit 'Crystal Blue Persuasion' could be heard rattling around one of the Shankar-Lewinson collaborations, 'Mamata,' and the bittersweet 'Snow Flower' was perhaps the most psychedelically-inclined of the originals, overlaid with buzzing and fluttering electronics. Yet arguably the best performances on Ananda Shankar were those that emphasized the Indian side of the equation, like the blissed-out 'Metamorphosis' (which managed to fit in some funky drum breaks before accelerating into a mini-raveup) and the 13-minute 'Sagar' -- the latter, according to Shankar's notes, the only selection on the LP played in the Indian classical style." --Richie Unterberger
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LP
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MS 2050HLP
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2013 repress. 180 gram vinyl, manufactured by Rhino. Fifth album, originally released in 1972. "The self-produced The Spotlight Kid, with a band consisting again of Zoot Horn Rollo, Rockette Morton and Ed Marimba, joined by Winged Eel Fingerling (Eliot Ingber), guitar, in addition to Drumbo, Ted Cactus and Rhys Clark on drums."
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LP
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MS 2115HLP
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180 gram vinyl, manufactured by Rhino. 6th album, following The Spotlight Kid. "In 1972, Warner Bros. Records producer Ted Templeman, already riding high with the Doobie Brothers and soon to be known as Van Halen's producer, decided to produce Beefheart. The result was Clear Spot, one of Beefheart's best-sounding records. It's also one of the rare occasions when Beefheart's music survived commercial staging without failure. Throughout the album, the band -- Zoot Horn Rollo, guitar, steel guitar and mandolin; Rockette Morton, rhythm and bass guitar; Ed Marimba (Art Trip), drums and percussion; and Oréjon (Roy Estrada ), bass -- cooks, Beefheart is in great voice and the sound is crystal clear."
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LP
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RS 6420HLP
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180 gram vinyl, manufactured by Rhino. 4th album, originally released in 1970, following Trout Mask. Unbelievable but true, this album is not currently available on CD anywhere in the world.
"Vast scholarly dissertations could be written on Beefheart's brilliant new approach to song lyric. Leaving in the dust both post-Dylan 'poetic' pretensions and the primitive approach which too often mistakes simplemindedness for simplicity, Cap's lines are magic flashfloods of free-association that somehow never get murky, strange jewel-like clusters of images, hilarious little vignettes from the lives of raffish louts and juicy mamas, half-muddled mamma's in coveralls and zoot suits. Robert Crumb could draw them, though in his vision they'd be vaguely threatened or threatening... In Lick My Decals Off, Baby this vision is extended, and even though the sonic textures are sometimes even more complex and angular than on Trout Mask, the lyrics have taken an added universality, many of them stepping back a stride from the kaleidoscopic image-clusters of last year's songs. Lick My Decals Off, Baby is just great bawdy music, as sanguinely sexual as a tale out of Boccaccio." -- Lester Bangs/Creem, 1971.
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