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BLU-RAY
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LIB 2193BR
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$26.00
PREORDER
RELEASE DATE: 5/12/2026
Blu-Ray, Region Code: 0. "In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana's independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy. Directed by Academy Award winner Denis Sanders the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene using high quality 2K transfers from the original film elements, which were shot in the 4:3 aspect ratio. The soundtrack has been digitally remastered. Soul to Soul is an electrifying concert film that features its players at the peak of their powers. The Ike & Tina Turner Revue deliver fiery renditions of 'River Deep-Mountain High,' 'Soul to Soul,' a cut specifically written for this concert; and Otis Redding's 'I've Been Loving You Too Long.' Wilson Pickett, the most popular American artist known to West Africans at the time, delivers a rousing finale of 'In the Midnight Hour,' 'Funky Broadway,' and 'Land of a 1000 Dances.' Gospel/Soul family group the Staples Singers were on hand to perform 'When Will Be We Paid' and 'Are You Sure.' Les McCann and Eddie Harris introduced many to jazz via spirited performances of 'The Price You Gotta Pay to Be Free' and 'Hey Jorler,' the latter featuring local Ghanaian artist Amoah Azangeo. Santana, with guest percussionist Willie Bobo was the wild card. The group only had one African American member but given its reliance on Afro-Cuban and Latin American rhythm constructs played the most African-sounding music of any with 'Black Magic Woman'/'Gypsy Queen' and 'Jungle Strut.'"
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DVD
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LIB 2190DVD
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$17.00
PREORDER
RELEASE DATE: 5/12/2026
DVD. Region Code: 0. "In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana's independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy. Directed by Academy Award winner Denis Sanders the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene using high quality 2K transfers from the original film elements, which were shot in the 4:3 aspect ratio. The soundtrack has been digitally remastered. Soul to Soul is an electrifying concert film that features its players at the peak of their powers. The Ike & Tina Turner Revue deliver fiery renditions of 'River Deep-Mountain High,' 'Soul to Soul,' a cut specifically written for this concert; and Otis Redding's 'I've Been Loving You Too Long.' Wilson Pickett, the most popular American artist known to West Africans at the time, delivers a rousing finale of 'In the Midnight Hour,' 'Funky Broadway,' and 'Land of a 1000 Dances.' Gospel/Soul family group the Staples Singers were on hand to perform 'When Will Be We Paid' and 'Are You Sure.' Les McCann and Eddie Harris introduced many to jazz via spirited performances of 'The Price You Gotta Pay to Be Free' and 'Hey Jorler,' the latter featuring local Ghanaian artist Amoah Azangeo. Santana, with guest percussionist Willie Bobo was the wild card. The group only had one African American member but given its reliance on Afro-Cuban and Latin American rhythm constructs played the most African-sounding music of any with 'Black Magic Woman'/'Gypsy Queen' and 'Jungle Strut.'"
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CD
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LIB 2191CD
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$16.00
PREORDER
RELEASE DATE: 3/6/2026
"In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana's independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy. Directed by Academy Award winner Denis Sanders the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene using high quality 2K transfers from the original film elements, which were shot in the 4:3 aspect ratio. The soundtrack has been digitally remastered. Soul to Soul is an electrifying concert film that features its players at the peak of their powers. The Ike & Tina Turner Revue deliver fiery renditions of 'River Deep-Mountain High,' 'Soul to Soul,' a cut specifically written for this concert; and Otis Redding's 'I've Been Loving You Too Long.' Wilson Pickett, the most popular American artist known to West Africans at the time, delivers a rousing finale of 'In the Midnight Hour,' 'Funky Broadway,' and 'Land of a 1000 Dances.' Gospel/Soul family group the Staples Singers were on hand to perform 'When Will Be We Paid' and 'Are You Sure.' Les McCann and Eddie Harris introduced many to jazz via spirited performances of 'The Price You Gotta Pay to Be Free' and 'Hey Jorler,' the latter featuring local Ghanaian artist Amoah Azangeo. Santana, with guest percussionist Willie Bobo was the wild card. The group only had one African American member but given its reliance on Afro-Cuban and Latin American rhythm constructs played the most African-sounding music of any with 'Black Magic Woman'/'Gypsy Queen' and 'Jungle Strut.'"
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CD
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LIB 2142CD
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$16.00
PREORDER
RELEASE DATE: 3/6/2026
"Out of circulation since 1976, the recordings of the Los Angeles rock band Mogan David and His Winos is finally be available again. The group's lineup featured a 'who's who' of heavyweights in the American music industry, including Harold Bronson and Richard Foos (co-founders of Rhino Records), Paul Rappaport (Columbia Records), and Mark Leviton (Rhino/Warner Music Group). Additionally, the band included Jonathan Kellerman, a New York Times bestselling author known for his series of novels starring the fictional child psychologist Alex Delaware. Started in high school by Bronson, a music-obsessed Los Angeles native, the Winos' band name was derived from Westfield, New York's Mogen David Wine Company, inspired by those crazy band names from the psychedelic era, such as Jefferson Airplane and Strawberry Alarm Clock. The Savage Young Winos LP received some national attention, with Creem Magazine's Lester Bangs writing, 'Side one's at least as listenable as Roxy Music. Hooracha and more power to 'em.' By 1974, Bronson was working as store manager at the recently launched Rhino Records retail store on Westwood Boulevard. In collaboration with the store's owner, Richard Foos, Bronson's Kosher Records evolved into a new independent label, also named Rhino Records. This release of Savage Young Winos follows its predecessor by an amazing 53-year gap. Bronson, who also serves as producer for the project, decided to leave off four songs from the earlier release that he felt hadn't stood the test of time. They have been replaced with a pair of demo tracks, additional live recordings from the period, and two tracks from a Winos' reunion session in 1993. The CD includes 19 tracks packaged with a 24-page booklet with extensive liner notes and rare photos."
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LP
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LIB 2143LP
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$26.00
PREORDER
RELEASE DATE: 3/6/2026
LP version. "Out of circulation since 1976, the recordings of the Los Angeles rock band Mogan David and His Winos is finally be available again. The group's lineup featured a 'who's who' of heavyweights in the American music industry, including Harold Bronson and Richard Foos (co-founders of Rhino Records), Paul Rappaport (Columbia Records), and Mark Leviton (Rhino/Warner Music Group). Additionally, the band included Jonathan Kellerman, a New York Times bestselling author known for his series of novels starring the fictional child psychologist Alex Delaware. Started in high school by Bronson, a music-obsessed Los Angeles native, the Winos' band name was derived from Westfield, New York's Mogen David Wine Company, inspired by those crazy band names from the psychedelic era, such as Jefferson Airplane and Strawberry Alarm Clock. The Savage Young Winos LP received some national attention, with Creem Magazine's Lester Bangs writing, 'Side one's at least as listenable as Roxy Music. Hooracha and more power to 'em.' By 1974, Bronson was working as store manager at the recently launched Rhino Records retail store on Westwood Boulevard. In collaboration with the store's owner, Richard Foos, Bronson's Kosher Records evolved into a new independent label, also named Rhino Records. This release of Savage Young Winos follows its predecessor by an amazing 53-year gap. Bronson, who also serves as producer for the project, decided to leave off four songs from the earlier release that he felt hadn't stood the test of time. They have been replaced with a pair of demo tracks, additional live recordings from the period, and two tracks from a Winos' reunion session in 1993. The CD includes 19 tracks packaged with a 24-page booklet with extensive liner notes and rare photos."
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LP
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LIB 5209LP
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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 fifteen-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. The vinyl version is pressed on limited edition color variant. A must have for punk rock fans and collectors."
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LP
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LIB 2180LP
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"Blues Hall of Fame vocalist Jimmy Witherspoon teams up with guitar hero Robben Ford at Hollywood's famed Troubadour in March of 1972. This never-before-released radio broadcast performance features nine tracks, including three Witherspoon originals plus classic songs from Willie Dixon, Sonny Boy Williamson, and Lieber and Stoller. This is one of the earliest recordings of Ford's extraordinary career, starting back in 1970 with Charlie Musselwhite and Witherspoon before joining Tom Scott's L.A. Express. He went on to shred with Steely Dan, Kiss, Yellow Jackets, Miles Davis and lead on 25 of his own albums. Here, blues vocalist Jimmy Witherspoon and blues guitarist Robben Ford are at the peak of their performing career during this 1972 recording, backed by a young but enthusiastic electric band that he had recruited after hearing them open for him in a club the previous year. With a fresh, young band in tow, one that was designed to capitalize upon the electric blues resurgence that had occurred in those years, Witherspoon delivers a set list that ran the gamut from his early hit single 'Ain't Nobody's Business What I Do' to a stampeding cover of the Jerry Leiber-Mike Stoller composition 'Kansas City.' Witherspoon is in a playful mood, frequently speaking to the audience. The set is filled with several other Witherspoon's most popular numbers, including 'Past Forty Blues,' 'My Babe,' and 'Spoonful.'"
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CD
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LIB 2119CD
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"After releasing two strong albums for Slash, the Blasters had plenty of critical acclaim and a sizable hometown following, but they hadn't come especially close to landing a hit record, and on the 1985 album Hard Line, they overhauled their approach in the studio in hopes of creating something that sounded more contemporary. Producer Jeff Eyrich pumped up the sound of Bill Bateman's drums (and for a few tracks replaced him with Stan Lynch of Tom Petty & the Heartbreakers), Dave Alvin's guitar tone got thicker and harder and the emphasis was put squarely on new songs. 'Trouble Bound' and 'Help You Dream' showed Dave Alvin's gift for writing in traditional styles was as strong as ever. Alvin's songs took on a darker tone on Hard Line, especially the tale of a small town lynching, 'Dark Night,' the anti-Reagan rant 'Common Man,' and the busted romance of 'Just Another Sunday,' while the fiddle-led acoustic arrangement of 'Little Honey' serves the tune far better than the version X recorded on Ain't Love Grand (with co-author John Doe on vocals). Phil Alvin rarely had a better run as a singer as he did on this album, which finds him better controlled but just as impassioned and expressive as ever. And the closing track, the rollicking 'Rock and Roll Will Stand,' is a darkly funny appraisal of the music biz that shows the Blasters knew just what they were getting into by trying to scale the charts, and were prepared for the consequences. Hard Line proved to be the Blasters' final studio album with their original lineup, and while it sounds like an experiment that only partially succeeded, the best moments revealed they could move forward without losing what made them special, they held on to their principles far better than the vast majority of roots rock bands who figured a different producer might get them on the radio."
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LP
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LIB 2111LP
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LP version. "After releasing two strong albums for Slash, the Blasters had plenty of critical acclaim and a sizable hometown following, but they hadn't come especially close to landing a hit record, and on the 1985 album Hard Line, they overhauled their approach in the studio in hopes of creating something that sounded more contemporary. Producer Jeff Eyrich pumped up the sound of Bill Bateman's drums (and for a few tracks replaced him with Stan Lynch of Tom Petty & the Heartbreakers), Dave Alvin's guitar tone got thicker and harder and the emphasis was put squarely on new songs. 'Trouble Bound' and 'Help You Dream' showed Dave Alvin's gift for writing in traditional styles was as strong as ever. Alvin's songs took on a darker tone on Hard Line, especially the tale of a small town lynching, 'Dark Night,' the anti-Reagan rant 'Common Man,' and the busted romance of 'Just Another Sunday,' while the fiddle-led acoustic arrangement of 'Little Honey' serves the tune far better than the version X recorded on Ain't Love Grand (with co-author John Doe on vocals). Phil Alvin rarely had a better run as a singer as he did on this album, which finds him better controlled but just as impassioned and expressive as ever. And the closing track, the rollicking 'Rock and Roll Will Stand,' is a darkly funny appraisal of the music biz that shows the Blasters knew just what they were getting into by trying to scale the charts, and were prepared for the consequences. Hard Line proved to be the Blasters' final studio album with their original lineup, and while it sounds like an experiment that only partially succeeded, the best moments revealed they could move forward without losing what made them special, they held on to their principles far better than the vast majority of roots rock bands who figured a different producer might get them on the radio."
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LIB 2117CD
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"When punk rock began exploding in the late 1970s, more than a few fans of the new music declared the only hope for rock and roll was to throw away its past and start over, but thankfully, a few people knew better than that. Dave and Phil Alvin were a pair of brothers from Downey, CA who'd been raised on a steady diet of what they called 'American Music' -- blues, rockabilly, country, jazz, swing, R&B, and early rock and roll. The Alvin brothers formed a band called the Blasters that approached the classic styles of the past with the energy and insouciance of punk rock, and their music taught a new generation that rock and roll was hard, wild, and manic fun even before it was called rock and roll. The Blasters, the album, is divided roughly half-and-half between originals and covers, and the classic tunes cover a broad enough spectrum to show off the full range of what the musicians could do, while Dave Alvin's songs were the work of a writer who knew how to tell a compelling story with strong characters in a few well-chosen words, married to melodies that rocked hard and sweet. Phil Alvin's vocals hit an ideal grace note between reverence and gonzo passion, and with Dave's guitar, John Bazz's bass, and Bill Bateman's drums turning up the heat behind him, the Blasters took the group's tough, heartfelt music and put it on plastic for the ages in near flawless form. (It didn't hurt that they also had some excellent guest musicians on board who later became full members of the band -- Gene Taylor on piano, Steve Berlin or baritone sax, and New Orleans R&B legend Lee Allen on tenor sax.) The Blasters wasn't the only great album this group would make, but it was certainly their best, catching them when they were still fresh but with just enough seasoning to bring out their best performances; it's practically impossible to imagine the roots rock scene of the '80s and onward existing without this album as a roadmap."
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LIB 2109LP
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LP version. "When punk rock began exploding in the late 1970s, more than a few fans of the new music declared the only hope for rock and roll was to throw away its past and start over, but thankfully, a few people knew better than that. Dave and Phil Alvin were a pair of brothers from Downey, CA who'd been raised on a steady diet of what they called 'American Music' -- blues, rockabilly, country, jazz, swing, R&B, and early rock and roll. The Alvin brothers formed a band called the Blasters that approached the classic styles of the past with the energy and insouciance of punk rock, and their music taught a new generation that rock and roll was hard, wild, and manic fun even before it was called rock and roll. The Blasters, the album, is divided roughly half-and-half between originals and covers, and the classic tunes cover a broad enough spectrum to show off the full range of what the musicians could do, while Dave Alvin's songs were the work of a writer who knew how to tell a compelling story with strong characters in a few well-chosen words, married to melodies that rocked hard and sweet. Phil Alvin's vocals hit an ideal grace note between reverence and gonzo passion, and with Dave's guitar, John Bazz's bass, and Bill Bateman's drums turning up the heat behind him, the Blasters took the group's tough, heartfelt music and put it on plastic for the ages in near flawless form. (It didn't hurt that they also had some excellent guest musicians on board who later became full members of the band -- Gene Taylor on piano, Steve Berlin or baritone sax, and New Orleans R&B legend Lee Allen on tenor sax.) The Blasters wasn't the only great album this group would make, but it was certainly their best, catching them when they were still fresh but with just enough seasoning to bring out their best performances; it's practically impossible to imagine the roots rock scene of the '80s and onward existing without this album as a roadmap."
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LIB 2157CD
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"The never-before-released set captures one of the most influential tenor saxophonists of all time, live at NYC's iconic jazz venue Birdland. It features eight tracks recorded on four different dates in 1951 and '52 for ABC Radio's famed 'Jumpin with Symphony Sid.' Host Sid Torin introduces several of the tracks, one of which, 'Neenah,' includes a shoutout to audience member Billie Holiday who originated the bebop legend's nickname 'Prez' (for 'President of the Tenor Sax'). The backing bands feature pianists John Lewis, Cyril Haynes, and Earl Knight; percussionists 'Papa' Jo Jones and Lee Abrams; bassist Gene Ramey; and trumpeter Jesse Drakes. The album is pressed on 180-gram vinyl and features rare photos with extensive liner notes from jazz historian Scott Yanow."
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LIB 2108LP
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LP version. "The debut 13-track album from the American roots rock band re-released with its original front and back cover, album labels and new liner notes from Chris Morris. The LP was released on independent label Rollin' Rock records in 1980. The set is a glimpse into the Blaster's beginnings with many covers of songs the band made their own from Bill Haley, Howlin' Wolf and other American music legends. Features the original versions of the band's two most popular classic tracks, 'Marie Marie' and the album title track. The groundbreaking album had been re-released by Hightone Records with a new cover and package in 1997 with both configurations unavailable for many years now. The album now makes its re-release on LP and CD in its original package from 1979. Includes new liner notes written by Chris Morris with band member interviews. Also features rare photos and memorabilia only available for this re-release."
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LIB 2110LP
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"The legendary Americana band's 1983 album re-released with brand new liner notes and band interviews written by Chris Morris with rare photos and memorabilia images. The release recreates the band's third studio album complete with a replica of the inner sleeve with songwriter Dave Alvin's lyrics. The 11-track set features the four core band members -- Phil Alvin, Dave Alvin, John Bazz, and Bill Bateman accompanied by Gene Taylor, Lee Allen, and Steve Berlin. Includes band classic cuts ? 'Long White Cadillac' (a hit for Dwight Yoakum in 1989), 'Jubilee Train,' 'Red Rose,' along with deep track covers of 'Barefoot Rock' and 'Tag Along,' sung by piano player Gene Taylor. The album was critically acclaimed with positive reviews from The New York Times, Washington Post, Los Angeles Times, Boston Globe, Philadelphia Inquirer, Trouser Press, The Village Voice, Goldmine, and many others. The San Diego Union named it the eighth best album of the 1980s. The album marked a shift in their sound as the band incorporated more diverse influences, blending rock, rockabilly, blues, and country elements. While still maintaining the energetic roots rock style they were known for, Non Fiction also explored a more polished and mature production compared to their earlier albums. The album stands out for its mix of upbeat tracks with thoughtful lyrics and a more reflective tone than their earlier, more raw recordings. The album is praised for its strong songwriting, and although it didn't achieve major commercial success, it remains a beloved album among fans."
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LIB 2116CD
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"The debut 13-track album from the American roots rock band re-released with its original front and back cover, album labels and new liner notes from Chris Morris. The LP was released on independent label Rollin' Rock records in 1980. The set is a glimpse into the Blaster's beginnings with many covers of songs the band made their own from Bill Haley, Howlin' Wolf and other American music legends. Features the original versions of the band's two most popular classic tracks, 'Marie Marie' and the album title track. The groundbreaking album had been re-released by Hightone Records with a new cover and package in 1997 with both configurations unavailable for many years now. The album now makes its re-release on LP and CD in its original package from 1979. Includes new liner notes written by Chris Morris with band member interviews. Also features rare photos and memorabilia only available for this re-release."
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LIB 2132CD
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"British born jazz piano legend Marian McPartland was a trailblazer in the music business recording over 40 albums for various labels including Savoy, Capitol, Concord and her own independent imprint, Halcyon Records. She was the host of Piano Jazz on NPR from 1978-2001 showcasing countless luminaries including Elvis Costello, Linda Ronstadt, Stephen Sondheim, Tony Bennett, and countless others. She was awarded a lifetime achievement Grammy, designated a jazz master by the National Endowment for the Arts, appointed an officer to the Order of the British Empire (OBE) and an inductee into the National Radio Hall of Fame. This never-before-released performance was recorded at the Peninsula library in Lawrence on Long Island in New York on December 10, 1972, before a crowd of fans and students for a Sunday afternoon concert. The 18-track set features McPartland with Rusty Gilder on bass and Joe Corsello on drums playing various standards including 'Stella by Starlight,' 'A Night In Tunisia' and 'Satin Doll' along with songs of the moment like 'Fire & Rain,' 'Raindrops Keep Fallin on My Head' and 'The Summer of '42 Theme.' Features extensive liner notes from music historians Barry Singer and Paul de Barros with rare photos and memorabilia."
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LIB 2128CD
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"A mix of fourteen rare acoustic and electric tracks from the late country-rock pioneer and legendary member of The Byrds and Kentucky Colonels. The set includes tracks recorded both at the beginning and at the peak of his career, showcasing his critically acclaimed flat-picking guitar style. Features guest players such as Eric Weissberg, the Byrds' Roger McGuinn, Gene Parsons, and Skip Battin, the Flying Burrito Brothers' Byron Berline, and a rare rehearsal performance with the Everly Brothers with Gram Parsons on rhythm guitar. White said of his guitar technique, 'I always maintain that I'm an electric country guitarist working in rock, rather than a rock n' roll guitarist like, say, Clapton or Beck, who came up through blues.' He may be best known as the second-longest member of The Byrds and leader of the Kentucky Colonels, but White also left his mark as a pioneer of country rock and his flat-picking guitar stylings; his ability to cross between acoustic and electric made him unique. His session work included recordings with Linda Ronstadt, Joe Cocker, Randy Newman, Rick Nelson, Pat Boone, The Monkees, Arlo Guthrie, and Jackson Browne, among others."
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LIB 2124LP
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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 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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