|
|
|
|
viewing 1 To 13 of 13 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ROC 3471LP
|
"Looking for a somewhat-camp-but-always-fun novelty rock'n'roll soundtrack for your next Halloween party? Look no further: Return of Halloween Nuggets, the latest collection of crate-(and grave-) digging favorites, collects 18 graveyard smashes (plus two spooky film trailers) on one ghoulish, orange/black splatter colored vinyl album. For fans of deep 1960s vintage Halloween themed tunes: witches, werewolves, graveyards, monsters, devils, space aliens, and zombies set the stage for a camp and entertaining holiday bash. Features the super-rare 1962 Bettye LaVette track, 'Witchcraft in the Air,' and the trailer to the 1959 Vincent Price spooktacular, House on Haunted Hill."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROC 3467LP
|
"The Brat was a Chicano punk rock ensemble originating from the barrios of the East Los Angeles, California. Its three core members consisted of lead singer Teresa Covarrubias, lead guitarist Rudy Medina, and alternate lead and rhythm guitar player Sid Medina. From their conception in 1979 to their eventual break-up in 1985, The Brat contributed to the customization and intermeshing of multiple musical and cultural models that culminated in the distinct East Los Angeles, Chicano punk sound. The Brat, a hardworking and politically-conscious band, nurtured the DIY punk scene of East L.A., which was defined by unofficial venues and backyard shows because the wealthier West L.A. circuit controlled the popular market. By the time the famous Club Vex was founded in 1980 -- by Los Illegals frontman Willie Herron, who desired an official venue to host East L.A.'s numerous underrated bands, who were mostly Chicano -- The Brat had become one of the biggest acts in the area. In late 1980 The Brat was signed to the upstart label of another local punk group, The Plugz' Fatima Records. This collaboration resulted in The Brat's only recorded album, the EP Attitudes, a five-song collection of some of their popular originals featuring Covarrubias' aggressive, yet melodic, punk vocals critiquing social inequality and Rudy Medina's -- who was called Rudy Brat -- urgent guitar hooks over drums with a reggae feel. The Brat never found breakthrough success and remained an underground East L.A. Chicano act until breaking up in the late '80s. Contains all five tracks from the Attitudes EP. The other songs were performed and recorded but never released. In the past decade, the Brat have enjoyed a resurgence in attention. The 21-track compilation was released on CD and vinyl in 2017. Due to demand, it is now being repressed on limited edition red and blue-swirled vinyl. The band were featured prominently in the documentary film, Chinatown Punk Wars, which debuted on PBS in October 2023."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROC 3460LP
|
"This set gathers together 18 selections from one of jazz's greatest saxophonists, Charlie Parker. All the recordings were captured in the late 1940s and early 1950s at such storied venues as Carnegie Hall and Birdland in New York, The Jubilee in Los Angeles, and the Portland Civic Auditorium. Focused on experiments in Afro-Cuban fusion, Parker is joined by a dazzling array of jazz legends including Dizzy Gillespie, Milt Jackson, Art Blakey, Woody Herman, Stan Kenton, Red Rodney, and others. The package includes essays by rock keyboardist Keith Emerson and contemporary jazz saxophonist Cory Weeds. While these tracks have previously appeared on other albums, this is the first time they have been gathered in this deluxe package. Available on a limited-edition 180-gram vinyl version for Record Store Day available exclusively at independent retailers. Also available on CD and digital."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROC 3447LP
|
"Dave Van Ronk was one of the most important figures to emerge from the 1960s American music folk revival in the NYC Greenwich Village music scene. He befriended Bob Dylan, Phil Ochs, Joni Mitchell and countless others. His legendary life was the basis for the main character in the Coen brothers' film Inside Llewyn Davis. This show was recorded at Indiana University in Bloomington on October 20, 1964, during a concert sponsored by the I.U. Folksong Club. The performance is quite intimate and eclectic in song choices. This single LP compiles the best of the 11 tracks from the 2015 double CD."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROC 3451CD
|
"The way musicians come together is something that can never be completely explained. It takes a lot of good luck and a healthy dose of fate to bring together all the elements. And even when those things are present, there comes a point when spontaneous combustion needs to happen as well. That is exactly what occurred when The Moving Sidewalks short but extremely electrifying life came into being."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROC 3446LP
|
"Amazing live 1978 set recorded at My Fathers Place (owned by Michael 'Eppy' Epstein in Roslyn, Long Island) and simulcast by radio station WLIR. Tosh, one of the core original members of the Wailers, was the first and only artist to be signed to the Rolling Stones label, other than the Stones themselves. Mikey Chung's work on guitar was truly exceptional that night as was Tosh's performance and you can sense the intimacy of playing in a small club in every note."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROC 3427LP
|
"Some of the greatest musical moments happen only once, in a live setting, and if you're not there to experience them at the time, they're lost to history. But every now and then, a buried treasure is discovered that brings a lost moment back to life and thrills music fans. Such is the case with this recently unearthed live recording of the all-star bluegrass band the Good Old Boys playing at Margarita's Cantina, a Santa Cruz club, in February of 1975. Most Jerry Garcia fans know of his early interest in bluegrass music, which was an essential part of Garcia's development as an instrumentalist and songwriter, but many Garcia fans are unaware that in 1975, during a Grateful Dead's hiatus, Jerry produced a seminal album for another bluegrass group called the Good Old Boys, featuring guitarist David Nelson from the New Riders of the Purple Sage, and Frank Wakefield, one of the greatest mandolin players in the genre. The Good Old Boys made one album for Round Records, recorded up at Mickey Hart's Ranch. Shortly after completing the Good Old Boys album, the group decided to do a series of live shows, but during that time period, two of the key players from the original studio lineup were unavailable to go on the road. In a conversation with bassist Pat Campbell, Garcia mentioned that he would love to sit in on banjo, and with Jerry's participation, and the addition of fiddle player extraordinaire Brantley Kearns, a new version of the Good Old Boys emerged, ready to hit the club circuit. On February 20th and 21st in 1975, the Good Old Boys played for two nights at Margarita's Cantina. The performances were well received, with outstanding singing, blistering mandolin and violin solos, and a crowd-pleasing vibe that's apparent from the moment the band takes the stage. Here, for the first time, thanks to a full restoration of these two-track tapes, fans can finally hear this music in all its glory."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROC 3417LP
|
"This set is a collection of rare live recordings, from a variety of venues, that originated between 1970 and 2004 and was produced by renowned archivist David Skye, with the blessing and participation of Diane Lee, Arthur Lee's widow. This is the first time a large collection of Arthur Lee & Love career spanning live recordings is being made available to the public. This vinyl package contains extensive liner notes and the cover artwork was designed by illustrator William Stout, internationally renowned as one of the first rock n roll bootleg cover artists. Stout also designed legitimate album covers for The Who, The Beach Boys, The Ramones, and The Smithereens and the original Rocky Rhino mascot. Released on red vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROC 3410LP
|
"Nazz's second album was to be a double album (as per Todd's wishes), called Fungo Bat. Recording began in Nov 1968 and completed in Spring (March) 1969. Due to band members indifference and management decisions, it was never released as such and Todd left the band to pursue a solo career. Todd's personal copies of the Fungo Bat acetates were among the possessions lost in a fire at his home. The source of the recordings is from an individual in Austin, Texas, who once owned one of the only known copies of the acetates for Fungo Bat. It was three 12" acetates, with typed labels. The track listing on the acetates are just in order, 24 tracks -- if this was indeed the album order, what is listed above is the logical place for album side breaks With Todd Rundgren - guitar; Robert 'Stewkey' Antoni - vocals, keyboards; Carson Van Osten - bass; Thom Mooney - drums. Red vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROC 3422LP
|
"2018 Black Friday RSD release. JazzFest Berlin (also known as the Berlin Jazz Festival) is a jazz festival based in Berlin, Germany. Originally called the 'Berliner Jazztage' (Berlin Jazz Days), until 1980 when the name was changed), it was founded in 1964. Also appearing that year were Herbie Mann, Carla Thomas, Don Cherry with Pharoah Sanders, Don Ellis (who makes a guest appearance with Brian Auger), Gary Burton, Elvin Jones, Muddy Waters with Otis Spann and other jazz luminaries. Whereas famous US-jazz celebrities set the tone during the first decades, the Berlin Jazz Festival increasingly has presented artists from all around the globe, with an increasing emphasis on contemporary European jazz. This performance by Brian Auger is also unique as it's the first appearance with Julie Driscoll so while a large portion of the audience applauded, wanting more of Brian, many booed when Julie Driscoll sang as her vocals and presence was a new element within the group. The festival's artistic concept has been 'to document, support, and validate trends in jazz, and to mirror the diversity of creative musical activity.' The vinyl will be pressed on translucent Boris Purple."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROC 3389LP
|
"Son House is one of the truly legendary figures in blues and folk music He first came to prominence in 1930 when his first 78RPM recordings for the Paramount label were issued. Like many of the greatest blues singers of the 20th century, Son was born and raised in the Delta region is Mississippi and his masterful and innovative slide work was a major influence on many of the other great singers from that region including Robert Johnson and Muddy Waters. Son stopped performing in the late 1940's as he did not relate to the new powerful amplified blues band sound, and felt no one cared to hear the old style classic blues anymore. It wasn't until 1960 that Al Wilson, a devout blues aficionado most famous for leading the blues group, Canned Heat, tracked Son House down in Rochester, New York and encouraged him to perform once again. Until his death in the late 1960's, Son House performed with all the old power and brilliance that gave him the name 'Father of the Blues'. This fantastic recording was recorded 'live' at one of the many successful Son House appearances and the existence of these tapes was only recently discovered. For the first time, not only his brilliant singing and slide guitar can be heard, but a rare glimpse of the man himself, talking intimately to the audience of his lifetime of experience and what the blues mean to him. This is a rare and unusual performance that no blues lover will want to be without."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROC 3372CD
|
"The closing of the Fillmore West (actually, the Carousel Ballroom) put a big dent in the 'City By the Bay'. This performance was taken from the closing concerts for the venue. The list of bands that Bill Graham didn't want was also big... and the Flamin' Groovies were on it, for years. Our first manager was Bill's right hand man and when he quit working for Bill to manage the Flamin' Groovies this this did not sit well with Bill, so the Groovies went up and down in Bill's eyes. So it came as a big surprise when we discovered he wanted us for this big and important event, to participate in a series of shows leading up to the closing of this legendary venue. I remember the show well. The difference in playing this gig as opposed to the Whisky-A-Go-Go in L.A. was like night and day. At the Whisky, we were the house band (two summers in a row); at the Fillmore, we were up for grabs. Oh yeah, this was our last show with my good buddy, Roy Loney." --Cyril Jordan (Flamin' Groovies)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROC 3373LP
|
LP version. "The closing of the Fillmore West (actually, the Carousel Ballroom) put a big dent in the 'City By the Bay'. This performance was taken from the closing concerts for the venue. The list of bands that Bill Graham didn't want was also big... and the Flamin' Groovies were on it, for years. Our first manager was Bill's right hand man and when he quit working for Bill to manage the Flamin' Groovies this this did not sit well with Bill, so the Groovies went up and down in Bill's eyes. So it came as a big surprise when we discovered he wanted us for this big and important event, to participate in a series of shows leading up to the closing of this legendary venue. I remember the show well. The difference in playing this gig as opposed to the Whisky-A-Go-Go in L.A. was like night and day. At the Whisky, we were the house band (two summers in a row); at the Fillmore, we were up for grabs. Oh yeah, this was our last show with my good buddy, Roy Loney." --Cyril Jordan (Flamin' Groovies)
|
|
|
|