Käytetty CD

Showing 1–24 of 47 results

  • Harvey Alex - And His Soul Band (Käytetty CD)


    he until then un-released second ”Alex Harvey And His Soul Band” Polydor album Shout (tracks 7 to 20) plus one track from Beat City (track 4) and 5 unreleased studio recordings (tracks 1 to 3, 5, 6).

    Tracks 1 & 2 recorded September 2, 1963, at Polydor Studio/Studio Hamburg, Gebäude M1, Rahlau 128, Hamburg-Tondorf
    Track 3 recorded October 3, 1963, at Polydor Studio/Studio Hamburg, Gebäude M1, Rahlau 128, Hamburg-Tondorf
    Track 4 recorded August 1964, Landsdowne Studio, Lansdowne Road, London
    Tracks 5 & 6 recorded August 5, 1964, Landsdowne Studio, Lansdowne Road, London
    Tracks 7 to 20 recorded August 14, 1964, Landsdowne Studio, Lansdowne Road, London

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  • Prisoners - In From The Cold (Käytetty CD)


    by Lois Wilson

    The Prisoners pre-empted the visceral energy of the Hives and the White Stripes and anticipated the baggy shuffle of the Charlatans and the Inspiral Carpets. Lead singer Graham Day’s scorching Hendrix-influenced guitar riffs and organist James Taylor’s hypnotising Hammond whirls and irresistible go go rhythms not only changed my life but far more influential music types too.

    In From The Cold, their fourth LP, originally released on Stiff subsidiary Countdown, was the band’s swan song. It’s not difficult to see why. Live gigs were already incendiary affairs. Graham picked up his guitar amp and speakers and chucked them at James at one gig at the Clarendon in London. Another time he slammed down his guitar and stormed off stage leaving the rest of the band twiddling their thumbs at the Escape Club in Brighton. Being holed up in a studio with producer Troy Tate for a whole five months, an exceedingly long time in Prisoners’ terms, (previous albums had taken a mere three days to put down) only led to further outbreaks of internecine tension and rivalry.

    By the time of the album’s release, Stiff were on the verge of going bust. The LP was available for just two weeks. After the initial pressing sold out there was no money left to press up any more. As a result few got to hear what would in many circles be hailed the Prisoners’ finest moment. That is until now with this fabulous reissue of the original LP plus five bonus tracks. Along with Dean Rudland’s informative sleeve notes and photos from the time, we get cuts like Mourn My Health, Deceiving Eye and Wish The Rain, which showcase Day’s whisky-sodden lyrical intensity. Laced with melancholia, despair and sheer hopelessness, they tear at the heart strings. The album’s closer: Main Title Theme (The Lesser Evil) is a dark, brooding instrumental up there with John Barry’s Ipcress File soundtrack and a hint at where James Taylor would be heading with his quartet after the band’s demise, while the infectious All You Gotta Do Is Say, co-written with Graham’s girlfriend Fay Hallam (of fellow Countdown act Makin’ Time), could have given the Prisoners the hit single they so rightly deserved.

    As for the bonus tracks included here, we get the band’s delicious 1986 single, Whenever I’m Gone plus its B-sides Promised Land and Grave Digger, and culled from Rare And Unissued, a compilation of demos and rarities on Hangman records from 1988, are the tracks Happiness For Once and the magnificent Pop Star Party. The latter’s lyrics lambasted Stiff Records but it was the few seconds silence during the song’s intro that caused a stir. It sounded as if the tape had been broken and hastily glued back together again. Graham, the story went, had been in a fight with the label. Unhappy with the company’s treatment of the group, he had snatched the tape out of Stiff’s owner Dave Robinson’s hands and run off with it. Sadly, this wasn’t true – the track had simply been mastered over leader tape – but it helps shed light on a group who, despite having an extremely intelligent songsmith in Day and arguably the most effusive and soulful white vocalist since Marriott and Winwood, never quite managed to make it.

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  • Various - Root Damage 2CD (Käytetty CD)


    okay here’s the dill pickle (deal):ROOT DAMAGE” is a the result of a serious excavation through the blues/country/roots rock n’ roll releases in the sympathy catalogue…there has been a lot of it through the years and it just seemed like time was due to take a closer look…”root damage” is a glorius and thoroughly unholy assemblage… the cover art was commissioned from rob and christian clayton…if you are unaware of the marvels of these rural rapscallions do yourself a favour and check them out at www.claytonbrothers.com

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  • Gecko Brothers - Stop Bitchin, Start Drinkin` (Käytetty CD)


    Woow!! Finally it’s out!! The new band from Eric Haamers (Batmobile!!), unnecessary to say, this album rocks!! What can you aspect: RAWK R’N’R!!/speedrock with a Motorhead attitude!!! Great artwork made by kostum Sam!

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  • Heavy Trash - Same + 2 bonus tracks (Käytetty CD)


    ”Heavy Trash, the band and the album, is a collaboration between Jon Spencer and Matt Verta-Ray. In their day jobs they are purveyors of punk-blues in Blues Explosion and Speedball Baby, respectively. Anyone expecting their collaboration to sound much like either of their groups is in for a bit of a jolt. Not that it is a million miles from the sounds they are known for since you still get Spencer’s instantly recognizable yelping vocals as well as loads of exciting, stripped-down and hooky songs that carry quite a punch. What is different is that they are working the rockabilly and early rock side of the street. Tracks like ”The Loveless,” ”Dark Hair’d Rider” and ”This Day Is Mine” kick up some serious duck-tailed dust, ”The Hump” and ”Justine Alright” are crazed handclapping, shouted chorus rockers, and the hip-shaking ”Gatorade” sounds like it was recorded at a party in Hasil Adkins’ backyard. The tracks that scale back the excitement are very good too; ”Fix These Blues” is a pedal-steeled country ballad, ”Take My Hand,” a doo-wopping lament complete with a spoken interlude and ”Under the Waves,” a moody, highly arranged murder ballad that might be the best track on the album. Only ”Mr. K.I.A.” doesn’t work, as it brings in some hip-hop influences and is too repetitive and, well, modern-sounding. Spencer is in top form throughout, dropping hilarious asides, hiccupping and whooping, crooning and howling like an unholy blend of Elvis, Gene Vincent and Lux Interior. He and Verta-Ray create a sound that is warm, rich and live, layering acoustic and electric guitars, percussion and Christina Campenella’s sultry backing vocals into a rollicking, thrilling modern rockabilly record that puts everyone who has attempted such an enterprise since Songs the Lord Taught Us to shame. So many times with side projects like this the parting words are ”don’t quit your day job,” in this case both men could easily do so because Heavy Trash is just as good if not better than their main projects. ~ Tim Sendra, All Music Guide”

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  • Reverend Beat-Man & The Church of Herpes - Your favourite position is on your knees (Käytetty CD)


    Reverend beat-man is back for the 2nd album with something unusual Industrial Analogue Electro meets Gospel and Trash Rock’n’Roll.. one of the Most Bizarre and scarry record of all time, imagin you drive trou church in a horror movie ride

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  • Midniters - In Thee Midnite Hour!!! (Käytetty CD)


    East LA rock n’ roll! Original Whittier recordings of this legendary group’s mid sixties stompers, collected together in one mad set for the first time! NO BALLADS!! Killer after killer of loud, tense, massively attitudinal teenage howlers- prime cut slammers that ram the Stones into a hot, crowded bullpen wearing long red capes and little else! For the first time, the universe outside East LA can dig the majestic slam of THEE MIDNITERS! Instant party never had it so good!

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  • Prisoners - A Taste Of Pink (Käytetty CD)



    There is something about a rock’n’roll band that appeals. I think it’s the feeling that with a little effort we could all be up there, guitars in hand. It is this ”do it yourself” ethic that ensures that the popularity of guitar-based groups endures, and that even when the hot light of publicity is shining elsewhere those bands will still be formed. At the moment the classic garage band sound is very much back in vogue, coming from US bands such as the White Stripes from Detroit and their ilk. These bands and their members have been playing for years with little publicity and would have carried on doing so regardless of success. This is a similar situation to the scene that formed around the Medway towns just outside London, in the early 80s which produced many bands; notably the Milkshakes with leader Billy Childish, but also the Prisoners, whose rough-hewn take on 60s psych and garage made them one of the great ”lost” bands of the 1980s. This unique re-issue of their debut album A TASTE OF PINK with additional tracks shows the band development from their earliest home demo through to their move outside their local area onto a wider audience.

    The Prisoners formed in 1980 when Allan Crockford, Graham Day and Johnny Symons formed a band at school in Rochester. It was pretty basic stuff, Graham on guitar, Allan on bass and Johnny on drums, mixing punk and 60s influences, rehearsals at parents’ homes and maybe the odd gig in between exams. 1981 saw the band take things more seriously, and the band expanded to a four piece with the addition of Bruce Brand from the Milkshakes as a second guitarist, which brought with it a stronger R&B flavour. This arrangement didn’t last long and the far more important discovery for the year was Graham’s voice as a songwriter.

    Late in 1981 (Allan thinks November) the band recorded a home demo as a three piece. It’s an interesting document which we present here for the first time. Obviously a little rough around the edges, the band is nonetheless a tight outfit with all the power you could want from a guitar trio. The songs include the previously unheard Talking Bout My Baby, which is strongly marked by one of Graham’s biggest influences at that time, the Pretty Things. Two of the other songs, Don’t Call My Name and Say Your Prayers, would be recorded again for A Taste Of Pink. The final song, Lilac Reflections, is a bit of a discovery, an early live favourite, still liked by Allan and Graham. This is the first time you will have ever heard it unless you were at the early gigs. These demos once again showed the touch of the Milkshakes as that band’s Russell Wilkins helped in the recording – something that he did on and off throughout the Prisoners’ career.

    The Prisoners became a four piece in early 1982 with the addition of Jamie Taylor on organ. James, like the others, was in the same year at Rochester Mathematical School – and was Johnny Symons’ best mate. Originally he played a modern Casio keyboard, which was given a distinct sound by playing its organ sound – loud – through a valve amplifier. The organ and Graham’s songs gave the Prisoners a distinctive sound, allowing them their own niche within the local scene. Throughout the first half of 1982 they played all the local venues, most notably the Medway Indian Club (MIC), where they would later record a live album with the Milkshakes.

    The Milkshakes were a discernable influence on the Prisoners’ attitudes and it was their ”get up and get on with it yourself” ethos that convinced the band that they could just go and record an album. So with money saved from their gigs – looked after by Allan’s then girlfriend – and the spur of Jamie’s impending exodus to university in Newcastle, the band recorded A Taste Of Pink. The album was recorded in two days at a studio in Herne Bay. The first day – a Sunday – saw the putting down of backing tracks and guide vocals recorded live to tape. The following Sunday the lead vo”

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  • Black Mambas - Same (Käytetty CD)


    Frantic punk-rock’n’roll from LA, think 1st wave punk with a rock’n’roll attitude says Reb Kennedy.They have a Rolling Stones-meets-Iggy and The Stooges way about them. Very bluesy side of the Stones vibe, with an edge of garage…I’m playin ”Baby I’ll Give It You,” ”Bulldog,” and ”Teenage Letter.” — Rodney Bingenheimer to L.A Weekly”

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