Pop & Rock News

This release features the much talked about radio show of summer of 1984 that featured Lux Interior playing his favorites and obscure-sets 7" records while howling, buzzing and raving
about them.

It includes such classic and influential stuff like THE FRANTICS, SPARKLES, LINK WRAY, BILLY STRANGE, MAD MIKE AND THE MANIACS, VIC MIZZY, ONE WAY STREETS, SWAMP RATS... DEADLY ONES, THE TROGGS and many more (up to a total of 28 tracks!)... Absolutely entertaining and instructional especially by Lux' comments/noises between tracks.

The gatefold sleeve artwork has been specially designed by Lindsay Hutton (Next Big Thing and President of the Legion of The Cramped - The Cramps Fan Club).

Everyone associates Liverpool with the beat boom - and that particular wave was led by groups, not solo artists.
But Billy Fury is the shining exception. He was very much in tune with the American rock'n'roll that had turned the music world upside-down and, in the late Fifties, was a very credible response to 'authentic' American stars like Eddie Cochran, Buddy Holly, Ricky Nelson and Elvis. This LP illustrates the two sides of Fury - the dedicated rock'n'roller whose music stood up to comparison with the American pioneers, and the pop-chart act his record label wanted him to be.

If you gave rock & roll another name, it would be Chuck Berry' according to John Lennon - and he should know! The Encyclopedia Of Popular Music agreed: Berry's stature as an essential figure in the evolution of popular music cannot be overestimated'. Any remaining doubts will be quickly dispelled by listening to the 16 tracks on this Greatest Hits compilation - which gathers together all of Chuck's classic singles, from 1955-1961,
to paint a comprehensive, and still thrilling, picture of the zest and excitement that rock & roll can offer.

For over 20 years, your irrepressible host Rex and his legendary Fool's Paradise radio show on WFMU has held a grudge against the whole square world. Broadcasting from an undisclosed location in rural New Jersey in a fur-lined fall-out shelter located miles below the earth's crust, this weekly "excursion to nowhere" continues to proudly play nothing but greasy grooves from inane 45s, non-hit misfires, curveballs and oddballs from the Rock & Roll era. Yes sirree, those weird and warped ones about monsters, beatniks, chickens, apes, stewed moonbeams and mosquito knees...

And now, in the tradition of free love and nickel beer, Jazzman Records has teamed up with Rex to bring together a fabulous collection of his top spins! These are the songs that, by virtue of Rex's dogged persistence, have now achieved a kind of classic status that was surely never previously thought imaginable - The Fool's Paradise Favourites.

Gatefold LP includes 18 tracks with extra special chicken-themed twin spin bonus 45 single!

In the late fifties the U.S. had Elvis, Buddy Holly and Little Richard: they had Rock 'n' Roll! Cliff Richard was the U.K.'s answer to these U.S. rock idols. Presented here are the British singer's second and third albums, accompanied on both by his frequent backing band the Shadows, along with some of his biggest hit singles and other bonus tracks. These top-selling albums and singles helped launch Cliff Richard into the pop stratosphere. Richard's career has proven to have remarkable staying power, with over 14 no. 1 hit U.K. singles, sales of over 250 million records worldwide, and 21 million singles in the U.K., to his credit. He is the third-top-selling artist in U.K. singles chart history, behind only the Beatles and Elvis Presley.

Gene Vincent was an American musician who pioneered rock and roll and rockabilly. The opener on this album, his 1956 top ten hit with his Blue Caps, Be-Bop-A-Lula', is considered a significant early example of rockabilly. Following up Be-Bop-A-Lula' was the critically acclaimed Race With The Devil' and two other million-sellers, Bluejean Bop' and Lotta Lovin''. Gene Vincent is most remembered today for his
recordings of the 1950s and early 1960s, like those collected on this LP. He was inducted into the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame and has a star on the Hollywood Walk of Fame. Vincent remains one of America's biggest legends of rock and roll.

180g double vinyl with digital download insert.
Johnny Hallyday, the much-loved French iconic rocker, died in Dec 2018 and was mourned by a nation.
Chant du Monde have selected 26 tracks in English
and two in German from Johnny's long career.

180g double vinyl with digital download insert.
The ultimate Chuck Berry rock 'n' roll album: 28 original tracks that established the foundations of rock 'n' roll.

180g double vinyl with digital download insert.
A unique selection of Elvis' rock 'n' roll tracks. 32 prime slices of Memphis rockabilly, country, rock and pop from the King.

Rockabilly twin spinner and rarest on the label - killer!

Street Hassle is the eighth solo studio album by American musician Lou Reed, released in February 1978 by Arista Records. Richard Robinson and Reed produced the album. It is the first
commercially released pop album to employ binaural recording technology. Street Hassle combines live concert tapes (with overdubs) and studio recordings.
All of the songs on Street Hassle were written by Reed, including "Real Good Time Together", a track that dates back to his days as a member of the Velvet Underground.
Pressed on standard black vinyl.

In his first nationally televised appearance, on the big band leaders Tommy and Jimmy Dorsey's TV variety show, Elvis Presley shocked the country with his sultry and sensational version of all-time classics like "Heartbreak Hotel" and "Blue Suede Shoes". And, although the Dorsey Bros. show might have been his first national appearance, it was the legendary Ed Sullivan performance that truly put him on the map, so to speak.

Rock'n'roll was born in the Sun Studios in Memphis, Tennessee, then it's arguable it came of age on the street corners of New York's Bronx district where city kids like Dion DiMucci belted out songs with only their bandmates' voices for company. The influence Dion had on the Beatles and many others was recognised in 1989 when he was inducted into the Rock and Roll Hall of Fame. Those early songs (an amazing 18 Hot 100 hits in three years) ensured he could always make a living on the oldies circuit, but he continued to attempt to reinvent himself. Despite his reign as a chart-topping star may have been brief, but the influence of the doo-wop music contained on this LP was incalculable: listen, marvel and enjoy.

The pop contains on this compilation is timeless - 18 stories of teenage angst that can still stir emotions in the Facebook age. Don and Phil Everly brought another dimension to pop music, not only in their distinctive vocal harmonies but also in addressing the concerns of school-age American teenagers. While Elvis Presley bellowed his raw desires like the bluesmen of old, the brothers from a musical Kentucky family expressed the feelings of being
caught between an eternal triangle of school rules, parental expectation and a growing interest in the opposite sex.

Following the success of his thematic O-Rama' compilations, the indefatigable El Vidocq turns his attention to Super Sounds'. This brand-new series focuses on the very essence of music, on its structure and workings and various vital elements... And what could be more natural than to start the series off with voices and singing

This selection explores the rich period stretching from 1955 to 1963, sampling rhythm n' blues, doo-wop and rockabilly. The compilation pulls out all the stops from the get-go, with the wild vocals of Esquerita, the singer-pianist and Little Richard's avowed model who gives his voice full-throttle, to reach the same airy heights as his improbable pompadour.

Next up: the eminently manly voices - deep and gravelly - of Jimmy Ricks and Sheldon Allman, contrasting sharply with the rather more androgynous vocals of Donnie Elbert. The grittily sung songs of Tic & Toc are gnarly rock n' rolling torrents, while Big Brown undoubtedly boasts the most piercing voice of the lot.

There are also songs that lend a new twist, take an expected turn, with Marvin Rainwater one of those singers verging on the comic. And when the larynx alone couldn't quite cut it, synthetics were on hand even then, as melodiously illustrated by The Nutty Squirrels.

Finally, the fairer sex is hardly neglected, with Hannah Dean, Brenda Lee and the sublime Pearl Woods pushing her voice beyond the limits of decibelic reason.

The great Eddie Cochran, an early rock and roll legend rivaled only by the likes of Elvis, and his good friends Buddy, and Richie, was gone before his 22nd birthday, the victim of a taxi cab crash while on tour in England. It's hard to imagine, when listening to Cochran's body of work, that one man could record so much classic material in such a brief period of time. Cochran's first solo release came in 1956, and in less than 5 years he recorded dozens of singles, including 7 chart hits in the USA, and a number more in the UK. This comp includes some of his biggest hits as well as numerous b-side rarities, showcasing the breadth and depth of this legendary early rock and roller.

Though he's been dead for nearly 50 years, Joe Meek remains one of the most fascinating and influential figures in British pop music. A brilliant and prolific producer and songwriter - despite his inability to either play an instrument or read music - Meek also happened to be an occultist, paranoiac, suicidal depressive and, to top it all off, a murderer. Though only 37 at the time of his death Meek left a large body of work rivaled only by his equally inspired/insane competitor across the pond, Phil Spector. This brand new collection on Wax Love bring 18 of Meek's finest early '60s pop productions back to life on vinyl, the format they were made for. Dig in!

This is a brand new reissue of the Peawees' classic "Dead End City" album from 2001, featuring 3 bonus tracks!

This essential LP edition includes one of Atkins' finest albums, the brilliant and seductive Teensville (1960). Originally released by the RCA-Victor label, it has been long unavailable on vinyl. This long play blends the inimitable style of Chet Atkins with both popular hits of the early '60s and some unknown gems. Take a Message to Mary', Don Gibson's Oh Lonesome Me', and Come Softly to Me' bear the essence of the light, sweet sounds of the original versions, as do White Silver Sands', Night Train', and Sleep Walk'. Boo Boo Stick' and the album's title track, Teensville', capitalize on the rhythmic influence of Bo Diddley. Django's Castle' is a tribute to the great jazz guitar master Django Reinhardt. Hot Toddy' is a sweet melding of an Atkins chordal melody with some fine, breathy sax work by Boots
Randolph. Finally, One Mint Julep' captures Atkins' wry country jaunt with some innovative volume pedal work on the last verse.

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

Carl Perkins was born into a sharecropper family in fertile northwestern Tennessee, separated from neighboring states Missouri and Kentucky by curvy bends of the Mississippi River. Even in his early days scouting talent, Sun Records founder Sam Phillips had it right when he met Perkins and declared with reverence this is one of the world's greatest plow-hands." Carl Perkins was a proud country kid.
With Sun Records, Perkins released eight singles and one studio album, but his recording legacy is often undeservedly simplified to this singular, million-selling 7" record. Originally released in February 1956, "Blue Suede Shoes" b/w '"Honey, Don't" is a rock and roll standard and critically praised as one of the first massive blockbusters of its kind. It walks down the road forged by Sister Rosetta Tharpe, Ike Turner, Bill Haley, Little Richard, Chuck Berry and Elvis Presley to fuse elements of blues, country, pop and gospel in a completely new direction.
Though Elvis Presley's cover would cement the song's status as a standard, Carl Perkins owes a good deal to Elvis for his name recognition and success as an artist. With Elvis's cover of Blue Suede Shoes' recorded and ready to release at the same time as Perkins' original version, Presley requested that his major label distribution hold back his cover single until the original single sold one million copies, purely out of loyalty and consideration for his friend Perkins.

The label on this single hits the nail on the head — Michigan's singing cowboy! Despite a very long 45-year career in country music as a promoter, radio station operator, artist and label owner, very little is known about Earl Peterson. In late 1952, he formed Nugget Records with his mother, basically as a means of self-releasing his music.
While shopping his music down South, he met Sam Phillips and agreed to release his song on Sun Records in the spring of 1954. This bouncing, twangy single would prove to be a cult hit and original pressings still command a lofty price. As the first remotely contemporary country single on the label, Peterson's single paved the way for Sun to later pivot into the country genre.
From there, Peterson's story becomes a bit murkier. He recorded the same song for Columbia in the fall of 1954, strangely disregarding his contractual agreements with Sun. He went on to release a couple more singles with Columbia and by the '60s, was holed up in rural central Michigan to run a radio station (WPLB) with his family.

Almost all of Sun Records' early rock and roll artists hailed from the South. The one exception in these formative years was Detroit native John Pavlik, better known as Johnny Powers. Releasing his first songs with the fantastic Detroit label Fortune Records, Powers was determined to be signed to Sun Records after wearing out his copies of Carl Perkins and Elvis Presley singles.
His sole release on Sun titled With Your Love, With Your Kiss' b/w Be Mine, All Mine' is a highly collectible piece in the Sun catalog. The A-side is powerful and intense, with popping snare, blaring saxophone in the bridge and an impassioned Powers wailing all over the track. The B-side is more of a boogie rocker with an absolutely unforgettable falsetto vocal melody in each post-chorus.
After Fortune and Sun, Powers went on to release records with Motown Records, certainly the only artist to record for all three wildly diverse labels. This nugget of early rock history is not to be missed.

Parliament-Funkadelic, live at Madison Square Garden in September 1977.

By September 1977, Parliament-Funkadelic were renowned not only for their outrageous blend of funk and rock'n'roll, but also their lavish stage show. Originally broadcast on WPLJ-FM, the superb performance presented here draws on a blend of up-to-date material and older classics, capturing them at their irresistible, eccentric best. Featuring George Clinton, Bootsy Collins and their many cohorts on peak form, it's presented here with background notes and images.

Red or Green Vinyl. It's a surprise

2023 Repress

This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak, the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 .The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Bay Area veteran ANDY HUMAN has been a mainstay in the DIY punk community over the past few years. An accomplished and extremely productive musician, Andy Human has sharpened his pop-chops as a member of critically acclaimed bands such as THE WORLD, RAZZ, BEATNIKS, THE CUTZ, THE TIME FLYS and LENZ. THE REPTOIDS provide Andy the space to excel within a KBD-punk framework, with his vibrant take on R'n'R, (with a little bit of weird thrown in to keep you on your toes). Recent Andy Human and the Reptoids singles have appeared, (this year), on the acclaimed punk labels Goodbye Boozy and Total Punk. Emotional Response is excited and proud to release this dazzling 7-inch. Reverse board print, limited 500 with download and postcard. Alternative

Boo! It's October and once again Halloween heralds its host of horrible monsters and terrifying creatures. Just in time and ever faithful to his 45 RPMs, El Vidocq has concocted a monstrous playlist. The 1950s and '60s were a frighteningly creative period for both cinema and music. Indeed, both worlds were intimately intertwined, as melodiously illustrated here by Lon Chaney (The Unknown) with his Monster Holidays'. No style lags behinds, from the surf rock of The Noblemen to the cha cha cha of Bruno Martino, the rockabilly of Jim Burgett to the big band jazz of Jackie Jocko... not to mention a dose of parody with the laughing monster of The Cliff Dweller. Get ready to rock and rumble with Frankenstein and Dracula and a hungry horde of zombies, dragons and other horrifying houseguests. Sensitive souls best head to the hills! Wah ha ha ha!!

Hey, BÖC fans—what say you to a 2-LP set of 17 demos, live tracks, album outtakes, and non-LP single sides that have never appeared on vinyl! Rarities Vol. 1 follows the long, rollicking road of Long Island's own Blue Öyster Cult all the way from their late-'60s incarnation as Soft White Underbelly up through
the Agents of Fortune album sessions. Along the way you'll
encounter all the elements that made BÖC the one band beloved by intellectuals, metal heads, punks, and jam bands alike: the vaulting literary ambitions, the gleeful love of pop culture, and the maximum, multi-guitar, rock 'n' roll riffage. The set starts with the psychedelically-infused Soft White Underbelly demo sessions they cut for Columbia, grabs some great live tracks from the band's personal archive (including Eric Bloom's hilarious retelling of the old I sold my soul for rock and roll' tale on the 14-minute
take of 7 Screaming Diz-Busters'), circles back to some rare singles (like their take on Born to Be Wild'), and selects some choice outtakes from such classic albums as Secret Treaties and Tyranny and Mutation.
The double-album set comes inside a gatefold cover featuring photos from the Sony Music Archive and notes by Scott Schinder featuring exclusive quotes from BÖC founding members Buck Dharma and Eric Bloom. Limited Edition of 1000 in Pearl White
Vinyl, exclusive to Record Store Day/Black Friday!