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Originally released in 1985, this is the sole album by Tony Cadenas' own THE ABANDONED, the band he formed after the ADOLESCENTS original break up in 1981. Sounding a lot like Tony's original band but with an heavier GERMS' influence, and a more metallic, darker, almost motorhead-esque touch.

As long as Adolescents got back on track, right before releasing their mid 80's comeback masterpiece 'Brats In Battalions' this obscure page of California punk rock history got completely forgot and never reopened until today. A band that really pushed the boundaries for the time while sticking to their roots, something most bands were not able to do. A must for all California Punk Rock maniacs out there!

Two nights in January, 1961, high up on West 57th St. A fantastic line-up.

'I asked Buell Neidlinger about the title of the album: NEW YORK CITY R&B. 'That's what it is,' he answered. 'We were all based in New York City then. The session, moreover, has two blues (O.P. and THINGS AIN'T WHAT THEY USED TO BE) and one of the songs, CINDY'S MAIN MOOD, has an l-got-rhythm set up. CELL WALK Well, that's Cecil.' (...)

(...)it would be difficult, as well as pointless, to label the music on this Neidlinger/Taylor album. It is of itself, and is so strongly original that it has not dated in the least. Taylor and Neidlinger, to be sure, have gone on and beyond; but what they did on those nights in January is going to last forever.
(from the original liner notes)

Musicians: On O.p. And Cindy's Main Mood: Cecil Taylor, Piano; Buell Neidlinger, Bass; Billy Higgins, Drums And Tympani On Cell Walk For Celeste: Cecil Taylor, Piano; Archie Shepp, Tenor Saxophone; Buell Neidlinger, Bass; Dennis Charles, Drums On Things Ain't What They Used To Be: Cecil Taylor, Piano; Archie Shepp, Tenor Saxophone; Buell Neidlinger, Bass; Billy Higgins, Drums; Clark Terry, Trumpet; Roswell Rudd Trombone; Steve Lacy, Soprano Saxophone; Charles Davis, Baritone Saxophone

Numbered limited edition of 500 copies

In their late-'60s heyday, the Jefferson Airplane embodied the eras revolutionary attitude and experimental spirit like no other rock act. Their unique combination of adventurous musicianship, visionary lyrics and personal charisma defined San Francisco psychedelia and established the band as quintessential Aquarian-age messengers.

Released in the fall of 1968, Crown of Creation found the ever-evolving Airplane moving towards a heavier, more concise approach on such tunes as "Greasy Heart" "In Time," "If You Feel" and the soaring title number. The band's folk-rock roots are reflected on Slick's whimsical "Lather" and the David Crosby penned "Triad," and the album culminates in grand style with "The House at Pooneil Corners," one of the Airplane's most epic excursions. The resulting album vividly captures the spirit of its time, and stands as a powerful testament to Jefferson Airplane's brilliance.

As part of it ongoing mission to present classic LPs in all their original sonic and visual glory, the first generation stereo masters were sourced and the cover art was meticulously reproduced.

Before Jimi Hendrix became an international phenomenon, he struggled to earn a living as an itinerant sideman for many rhythm & blues acts. Hendrix can be heard on recordings by Little Richard, the Isley Brothers, Don Covay and many others. This single presents one of his most unusual sessions as an unheralded sideman while the other was only recently discovered and never before released.

Hendrix recorded both tracks in 1966 during separate sessions as a session musician for Ed Chalpin & PPX Enterprises, Inc. 'Suey' was originally the flip side of 'As The Clouds Drift By,' a single by the voluptuous B-movie actress Jayne Mansfield. Licensed to several European labels just weeks after Mansfield died in an automobile accident on June 29, 1967, Mansfield US recording rights were held by a different label so this recording has never before been issued in the US. Ricky Mason was a young vocalist championed by Chalpin, and 'I Need You Every Day' is a pleasant surprise. This previously unreleased, uptempo shouter also features Hendrix on guitar.

Diminutive perpetual heartbeat of the Velvets! The unmistakable beat of the Velvet Underground was malleted out on the unconventional kit of Moe Tucker. Her (at times) childlike, fallen angelic voice also shines on some VU fan favorites. Here Moe reinterprets some Velvet gems, sometimes playing all instruments, other times accompanied by the likes of Jonathan Richman, Jad Fair, Kim Gordon and more. In addition to VU faves, we're treated to rough and jubilant covers of her favorite early rock & roll hits, and memorial odes to Sterling Morrison and Andy Warhol, all stuck in a Warholian package with removable sticker and liners by David Fricke!

Strength, beauty, truth: those words perfectly describe Tucker's crucial role in the Velvets' historic fray, across their first three studio albums: 1967's The Velvet Underground and Nico, 1968's White Light/White Heat and the electrifying restraint of The Velvet Underground. 'After Hours' was Tucker's only starring role in the Velvets' original lifetime, but her clockwork drumming and loyalty to those ideals were constants in the noisy and emotionally direct music Tucker made in her second, improbable career as a solo artist: particularly the nine tracks that comprise this unique introduction, selected from a dozen releases across two decades. There are 1980 home-recorded versions of Chuck Berry's 'Around and Around' and the Shirelles' 'Will You Love Me Tomorrow' with Tucker playing all of the instruments, a charming duet with Jonathan Richman of the Modern Lovers on 'I'm Sticking With You,' iconic Velvets songs with instrumental support by Reed and original bassist-viola player John Cale, and the memorial ode 'Andy,' a chant-like eulogy with liquid-jangle guitar named after the pop artist who produced, managed and mentored the Velvets from 1966 to 1968. This collection ends with another memorial: 'Last Night,' written by Tucker and recorded in 1998 as he farewell to Sterling Morrison who died in 1995.

I'm Sticking With You: An Introduction To Moe Tucker presents this vital part of the history and legacy of The Velvet Underground and a portrait of (as Lou Reed described her) 'the driving force, the hardcore heart of the Velvets' mindset.

'Shlom Hatzibur' - 'Yanshuf al Anaf Gavoha' a repress of a long lost new wave single along with edits by 'The Models' and 'Mule Driver'.

'Shlom Hatzibur', a band formed by Yuval Banay and Oren Elazary, was active between 1984-1985. This was the year in which the band 'Mashina' paused their activity. ('Mashina' was established in 1983 - and is considered by many ones of the most influential rock bands in Israel). In 1984, they independently published two singles, one of which was 'Yanshuf al Anaf Gavoha'.'Yanshuf al Anaf Gavoha' (Owl on a High Branch) represents a rare moment in Israeli musical history and culture: a moment of disillusionment and expression of personal voice, contemporary sound, and rhythm which stood out during a turbulent political period.

During the First Lebanon War, in the 80s, a generation of young people traveled on the weekends from the battlefields of southern Lebanon and flocked to the rising nightclubs in Tel Aviv. From army discipline to individual freedom, from the threat of death to the city's vibrancy. It is a song of adolescence in a divided and alienated society, and its reissue is more relevant than ever.

The song mixes industrial rhythm with Post-Punk, Rock and Ska. The unusual musical production and the use of a drum machine were influenced prominently by the musical soundtrack played in Tel Aviv's record shops and alternative nightclubs (eg, 'Fuzz', 'Penguin').

Former member of Dublin punk band The Threat, Stano released his debut LP on Scoff Records in 1983. Recorded in Alto Studios, the Irish artist eschewed live performances in favour of fusing collaborative, improvised, experimental music with spoken word-poetry. The LP featured contributions from fellow Irish musicians and artists such as Michael O'Shea, Roger Doyle, Donald Teskey, Vinnie Murphy, Detroit born Jerome Rimson and is a seminal document of Irish postpunk

1966 was a busy year for the Shadows of Knight! Hot on heels of their hit '66 debut album and monster single "Gloria," they released their second long player, Back Door Men, before the year was out. It was another combustible collection of blazing blues covers and smoking originals. While there was still plenty of garage grit, they had already begun evolving stylistically. "The Behemoth" was a fine slice of raga rock while "Three for Love" jangled in a decidedly folk-rock style. Of particular note is their cover of the garage classic "Hey Joe." One of many bands to record the song that year, the Shadows of Knight version took the uptempo road and rendered a distinct rendition, albeit one with a very Byrds-ian chime.

The group's home town of Chicago was well-represented on the album through their foot stomping covers of Willie Dixon's "Spoonful" and Jimmy Reed's "Peepin' & Hidin'." The group even ventured into Top 40 territory with a cover of the Tommy Boyce & Steve Venet song "Tomorrow's Gonna Be Another Day," a track featured on The Monkees' debut LP, also released in 1966. That these seemingly disparate styles blended so cohesively was a tribute to the band's road-hewn sensibility. This was a band used to playing for intense live audiences where they received instant feedback from the dance floor. They knew what it took to move and groove a crowd and that skill transferred seamlessly in the studio

Original copies of Back Door Men became hard-to-find "holy grails" for dedicated collectors, commanding big prices. Now, this garage punk classic is finally available again! Sourced directly from the original Dunwich master tapes for the first time in over three decades, this Sundazed edition delivers stunning sonics for your listening pleasure. Just hang on 'cause it's a wild ride!

One of the bands from the Cramps Label, Arti & Mestieri were formed by ex-trip drummer Furio Chirico with musicians from various jazz groups.often playing with Area, they shared with them the same interest in fusing Jazz-Rock with Prog elements. The album includes only two vocal tracks, and the rest is mainly instrumental.

INSERT INCLUDED

ever official LP reissue of Spanish prog/symph legends Atila's mega rare third LP Reviure, originally released in 1978.

Atila where one of the best Spanish bands in the genre, their three albums are highly sought after pieces exchanging hands for high prices in the collectors' market. After our reissues of Beginning Of The End and Intención, Reviure is here to complete your collection.

Highly influenced by the sound of bands like King Crimson and Pink Floyd, Atila also entered a high dose of kraut influenced cosmic rock to their jazzy rock experimentation, recorded with higher media than their previous LPs it was the album that should have taken the band one step further in terms of sales, but it sadly flopped in a scene that was still too attached to either the rock andaluz (Andalusian rock) or rock laietà (the Barcelona scene) movements.

The Wah Wah edition has been mastered from the original master tapes and lacquer cut by Moritz Illner at Duophonic in Germany - comes in textured sleeve, including an 8 page colour booklet with photos and liner notes by Fermí Puig.

Originally released in 1967 on Vanguard... a very contemplative album (his
1st for the label) for the father of American primitive guitar.

8 tracks, original artwork, 180 gram vinyl

"japanese Guitarist Naoki Zushi Was A Founding Member Of '80s Noise Rock Legends Hijokaidan,

And Has Played On Many Albums With Psychedelic Folk Group Nagisa Ni Te,

As Well As Recording Under His Own Name Since The Late '80s.

His Third Solo Album, Appropriately Titled Iii, Was Originally Released On Cd Only, In 2005.

A Beautiful Piece Of Meditative And Progressive Folk-rock That Harkens Back To The

Best Albums Of The 1970s, Iii Is Issued Here On Lp For The First Time By Klimt."

Strut announce the signing of one of the best of the UK's new generation of soulful genre-fluid artists, Nubiyan Twist, with a superb new single, 'Tell It To Me Slowly', released on 16th November. Voiced by the band's saxophonist Nick Richards, the song is an instant soul-jazz winner, with lyrics speaking about inner turmoil and a search for the truth. On the flip, 'Sugar Cane' features the unmistakeable vocals of Nubiya Brandon singing of harsh life lessons over an increasingly chaotic groove. The tracks are taken from the band's forthcoming album, 'Jungle Run' which effortlessly weaves together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music. The single and album mark another important chapter for a band that has been consistently developing and evolving their sound since their formation in 2015 at Leeds College Of Music. Nubiyan Twist's 'Tell It To Me Slowly' b/w 'Sugar Cane' is released on 7' single, digital and streaming on 16th November. The band also head out for a series of European dates from next month:

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

INSERT INCLUDED + ORIGINAL PLASTIC PICTURE BAG

Octagonal shaped cover, coloured Vinyl, Numbered Limited edition 200 Copies

FINALLY, THE FIFTH PART OF THE BOOK OF AM HAS BEEN FINISHED.



COMPLETE YOUR BOOK OF AM COLLECTION WITH THE LAST DISC OF THE SAGA!

The Book of AM* is a collection of inspirational songs, poems and stories composed in different parts of the world through the millennia up to the present day and edited and set to music and graphics by Juan Arkotxa and Leslie MacKenzie. The Book expresses core themes from Eastern and Western philosophical and religious traditions and it follows the cycle of day with five parts - Dawn, Morning, Afternoon, Evening and Night.When the Book was first published in 1977 the incomplete Part V, NIGHT, was not incorporated into the four part publication (Part I published in Paris 1978, and Parts I, 2, 3, and 4 were published by Wah-Wah Records in 2004 and 2010). At last the final part NIGHT has been completed and is presented here as the conclusion of this long project.



We have used recordings from that time, 1977, and combined with musical and technical collaboration, mainly from oG, (introduced to us by the member of the Book of AM team Will Z and also part of the Belgium group Cosmic Trip Machine) who joined us for this project and has brought his own form of genius to the mix, adding, along with Will Z, extra overdubs to our original recordings, as well as making an invaluable contribution to the composition, mixing and mastering by which we have achieved a sound different from the previous AM albums, more ethereal and informal but at the same time surprising and powerful which steps out of the standard songs format and creates a befitting space for the nocturnal and final mood of this project.



* AM is the root sound of the Chakras which ascend from Lam to Vam, Ram, Yam, Ham and end with the Om at the top of the head.

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

The Algebra Mothers/A-Moms were formed by four like-minded misfits/artists/musicians/friends (Gerald Collins, Ralph Valdez, Diana Balton and Kirsten Rogoff) from Detroit's Cass Tech High School. They made their professional debut in 1977 and in 1979 they released the weirdly incredible Strawberry Cheesecake b/w Modern Noise 7' on their own Aftertaste Records (TMR re-issue imminent). They played around Detroit and the country with everyone from Destroy All Monsters and Sonic's Rendezvous Band to Pere Ubu until 1984. Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album's worth of home studio demos and live recordings. Now we proudly present to you 'A-Moms = Algebra Mothers' LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.

End of the World is the debut album by Greek progressive rock band Aphrodite's Child. With their single hit 'Rain And Tears' they took their first step in becoming a big act in Europe. By reaching international audiences this classic got some more attention. It's one of those lost gems of '60s psychedelic rock. The original compositions are recognisable by the use of the mellotron and Demis Roussoss his voice. This brilliant example of how Greek influences blended with British psychedelic music made of them a unique band. Even some European pop ballads fits well on this versatile album. Vangelis is at his best when he's shining on his keyboards and let the melodies drifting away in their songs.

Shortly after their debut, Melbourne's CIVIC return with their sophomore EP 'THOSE WHO NO' - a fatalistic slab of power pop for the modern set.
Recorded on a stint in Geelong, with Billy Gardner (living eyes / ausmuteants / Anti Fade) once again at the helm, 'THOSE WHO NO' acts as a counter point to the gutter rock classicism and urban decay romantics of 'NEW VIETNAM', and shifts it's focus towards genre experimentation, bleaker insular realities and modern personal warfare.
Over four tracks Jim McCullough, Lewis Hodgson, Darcy Grigg, Roland Hlavka and David Forcier dance on the knife's edge of mythology versus the mundane - an against all odds desperation that flirts with the anthemic yet only stokes the flames.
Mid 70s glam and rock n roll tropes are pummelled beyond recognition referencing the past but predominantly pointing to the future.
There are forces at work here and CIVIC aren't a band merely content to play to their strengths - they are a true sum of their parts who get their kicks testing their limitations.
(Ben Hepworth)

Carver City is the commercially and critically successful fourth album by CKY. It's a concept album about the fictional town, a holiday resort plagued by crime. The experimental album is different from their previous alternative metal albums. Synthesizers playing a prominent role on the album, while drummer Jess Margera plays rhythms compared to the 80 neo prog rock/metal. Their unique sounds can be heard in the versatility of this record. The album was recorded by guitarist Chad Ginsburg and he does a great job of balancing the instruments and vocals, ensuring that each individual part is audible and crisp.

Mad, Bad, and Dangerous to Know is the third album by British band Dead or Alive. Several hit singles can be found on this album, including 'Brand New Lover' and 'Something in My House'. The fun and energetic synth-pop and dance album continues where Youthquake ended. The dance-pop songs are little heavy than the HI NRG songs of their earlier records. It's the last record with the original line-up and one that's creative and versatile.

Stanley Kubrick has a troubled past with Deerhoof. An argument over whether Eyes Wide Shut was good almost broke up the band in 1999 and again in 2003. When Famous Class suggested a 7" of music from The Shining, the band waffled for three years about whether they thought they could do it justice. But once a Halloween release date was proposed, Deerhoof couldn't resist. They got the score to Bartok's "Music For Strings, Percussion and Celesta" out of the library, and transcribed one of the 20s songs straight from the closing credits. Music that in the movie echoed from some ghostly, gilded past takes on a more urgent character in Deerhoof's versions, as if to underscore that the horrors of white supremacy, oligarchy, and domestic abuse are alive and well in 2018 America.
Deerhoof plays the music of the shining. Deerhoof plays the music of the shining. Deerhoof plays the music of the shining. Deerhoof plays the music of the shining. Deerhoof plays the music of the shining. Deerhoof plays the music of the shining.

Elvis Costello Goodbye Cruel World on Numbered Edition 180g LP from Mobile Fidelity



Goodbye Cruel World Produced by Top Production Team of Clive Langer and Alan Winstanley: Several Songs Enhanced With Top-Flight Horn Arrangements



Mastered from the Original Master Tapes: Mobile Fidelity 180g LP of 1984 Elvis Costello Set Is the Sonically Definitive Version



Elvis Costello and the Attractions Survive "Dreadful 80s" With Songs Concerning Loss, Identity, and Matters of the Heart



Elvis Costello wasn't in a happy place when he began writing Goodbye Cruel World. His marriage collapsed between the record's start and finish. He was also dealing with what he deems the "dreadful 80s"—a period in which the importance of videos trumped musical merit, the government in his native England engaged in controversial conflicts, and nuclear threats hovered over daily life like a black cloud. What possible good came out of the age A smart batch of songs that stands up to many of the singer-songwriter's better-known works and an underrated record that now sounds better than ever.



Mastered from the original master tapes and pressed on 180g LP at RTI, this collectable edition of Goodbye Cruel World joins Mobile Fidelity's acclaimed Costello reissues series in presenting the icon's most vital records in rich, dynamic, three-dimensional analog sound. Akin to many albums from the era, Goodbye Cruel World was hampered by bright, slick textures on the original pressings and digital counterparts. Here, Costello's fare is revealed to possess a warmer, more organic and intimate character. Costello's voice, as well as his band's nimble rhythms and Steve Nieve's R&B-spiked piano, occupy their own spaces amidst a wide, unconstrained soundstage.



The improvements rendered by this numbered-edition LP bring significantly new perspective to Costello's mordantly witty songs addressing everything from stark romantic loss to erotic desire. Produced by the hit-making team of Clive Langer and Alan Winstanley, Goodbye Cruel World reflects the polish of the day in places but now reveals a deeper soulfulness, grit, and honesty. Such aspects particularly come to fore on multiple tunes featuring saxophonists Gary Barnacle, trombonist Jim Paterson, and percussionist Luis Jardim—the very first guests ever welcomed on an Attractions album.



With added instrumental assistance, Costello and Co. traverse styles ranging from rambunctious new-wave rock ("The Deportees Club") to frisky New Orleans-derived blues ("Sour Milk Cow Blues") to suave, jazzy pop ("The Only Flame In Town"). In the closing "Peace In Our Time," a sobering albeit optimistic song whose verses still apply to contemporary times, Costello crafts the finale to a socio-politically conscious trilogy that began with "Shipbuilding" and "Pills and Soap." It alone is the worth the price of admission to a record that's long deserved a better reputation and, with Mobile Fidelity's reissue, finally gets its just desserts.

- Mixed by Justin Broadrick in 212, mastered for vinyl by James Plotkin in 2018
- Original vinyl version was never distributed, only available on Roadburn Festival

Godfleshare the the genre-blurringband founded by Justin Broadrick and G.C. Green in 1988. Their approach melds electronic/dub influences with the aggression of the metal and punk world. This forward thinking style has made Godflesh one of the most important bands to ever surface from the 'extreme' music world. Laying the foundation for the blossoming post-metal world that dominates heavy music today.

Godflesh frontman Justin Broadrick believed that this performance was "the most coherent version of Streetcleaner ever played." The Quietus writer Jamie Thomson said this about the performance: "As [Godflesh] pummeled their way through a complete performance of Streetcleaner in the main theatre, the jackhammer drum machine and guitar crunch invoked more of a physical rather than emotional response - that response being: 'Ouch'." Thomson later wrote "Rather than being dwarfed by the occasion, the image of Justin Broadrick and G. C. Green stood alone on the giant stage reflected perfectly their stark, tormented sound."

The debut full-length from industrial mastermind Godflesh is suffocating as a live recording. Rumbling bass, squealing guitars and strong vocals bring Streetcleaner to life in a different way than on the studio album, but it works to Godflesh's benefit. The songs are more dissonant and, at times, cacophonous, a powerful incarnation of the record more than 20 years after its release. (Decibel Magazine)

For fans of: Jesu, Scorn, Neurosis

Hoobastank second release The Reason was their ultimate breakthrough album. Big part in this success was the title song which topped the charts worldwide and got about half a billion views on YouTube. The teenage poetry can be found on most songs on this post-grunge album. With their uplifting choruses they created another energetic record. The one-two opening punch 'Same Direction' and 'Out of Control' shows their catchiness and some pleasant singing. It's an album where you hear the development of Hoobastank.

Bless Its Pointed Little Head is a live album by Jefferson Airplane recorded at the famous concert halls Fillmore East and West. It's their first live album and demonstrated their development as performers. The harder rocking versions of classics like 'Somebody To Love' and 'Plastic Fantastic Lover' are part of this recording. It showcases their ability to improvise and creating some raw and powerful versions. Bless Its Pointed Little Head is a classic live album, providing more than enough of their punchy and rocking melodies. And to be sure it's one of the best live albums from the late '60s, both a must for Jefferson fans as music lovers in general.

For this year's Black Friday Record Store Day campaign, Rhino are proud to release the brand new compilation 'Hard Rock Heretics'. This compilation includes massive singles from world favorite Hard Rock artists such as The Flaming Lips, Twisted Sister, Dio and more, and will be released for the first time on a 1-LP 140-gram colour vinyl.