Sundazed

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  • Revels - Intoxica!! The Best Of (Käytetty LP/12)

    30,00

    Here’s the easiest way yet to give Miss Manners a coronary. These inebria-sonic bums carved a special sub-niche from the surf genre: booze rock! It’s the most fun you can have without phony proof!

    Aikoja sitten loppuunmyyty albumi!

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  • Trashmen - Great Lost Album (Käytetty LP/12)

    20,00

    Yep, it’s the legendary, unreleased followup LP to Surfin’ Bird (ca. 1964) and another 2 rarities recorded in Iowa (ca. mid-1966). Ultra-cool liners by Miriam Linna plus super rare photos of our favorite land-locked surfers. Rock ’n’ roll history set straight!

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  • Trashmen - Live Bird 1965-1967 (Käytetty LP/12)

    17,00

     A piece of the true T-men in person, circa 1965 to 1967! Now you can be cool by proxy, thanks to never-before-released masters, hidden, like most of you, in a cellar for nearly 25 years. Incredible live reverb-tamales, PLUS original Trashmen interviews from 1965! Liners by Billy MIller, plus loads of rare photos!

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  • Tornadoes - The Best Of – Beyond The Surf (LP)

    27,00

    The Tornadoes ‎- Beyond The Surf – Nobody from the tidal wave of surf combos inundating Southern California in the early ’60s did it any gnarlier than the Tornadoes, in hot water immediately for titling an early single ”Shootin’ Beavers.” Whatta sound!!! Whatta band!!! Our new vinyl release collects the hit ?Bustin? Surfboards,? adds the best of the group’s material from their ultra-rare album and scarce singles and gives you a couple originally-unissued massive reverb swats! A limited edition from the original masters, pressed on blue vinyl!! Shoot That Beaver!!!!!

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  • Neil Fred - Same (Ltd, Coloured) (LP)

    22,00

    Clear colored vinyl LP pressing.

    A moody NYC masterpiece from The Village circa ’66! New York folk artist Fred Neil’s eponymous second album may not have been a sales smash, but it inspired countless contemporaries, from Jefferson Airplane to Crosby, Stills & Nash, to Harry Nilsson. It was the latter’s cover of ”Everybody’s Talkin’,” featured in the Midnight Cowboy soundtrack, that garnered Neil his greatest notoriety, but the album is full of shimmering, surreal gems, like ”The Dolphins” and the stunning ”Faretheewell.” Neil disappeared into reclusiveness not long after, but his legacy as a thoughtful, complex songwriter lives on. With a deeply resonant voice that exudes a hundred different things at once – pain, joy, weariness, and decades of experience – Fred Neil created an influential body of work that far outweighs it’s modest size. Few artists from the vibrant early ’60s Greenwich Village folk scene had more staying power than this legendary recluse, a figure who inspired the likes of Bob Dylan, Jefferson Airplane, and countless others.

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  • Cochran Wayne - Same (180 gram, Gatefold) (LP)

    22,00

    Signed by Chess, Cochran and the Riders released their first LP in 1967. Produced by Abner Spector with sessions at Miami’s Criteria Studios and Muscle Shoals’ Fame Studios, the cleverly-titled ”Wayne Cochran” offered up a mix of popular R&B and soul songs which apparently served as a reflection of the group’s live act. To be honest, if you were looking for something original and ground breaking, this wasn’t the place to start. While Cochran’s performances were quite energetic (having one of the era’s tightest backing bands certainly didn’t hurt), none of the twelve arrangements strayed far from the originals. I’m guessing that most of the things that supposedly made these guys such a killer live act simply couldn’t be replicated on vinyl – not to imply that the collection was bad. It wasn’t. Individually most of the songs were quite good, but it you were familiar with the originals, stripped of Cochran’s in-concert craziness, they simply couldn’t compete.

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  • Paul Butterfield Blues Band - . It chronicles the evolution of the band, continuing to add elements of jazz and R&B to it’s traditional blues ap (LP)

    22,00

    DESCRIPTION:

    Limited red colored vinyl LP pressing. Fresh from their triumphant appearance at the Monterey International Pop Festival in June 1967, the Paul Butterfield Blues Band entered the studio to record their fourth album, In My Own Dream. It chronicles the evolution of the band, continuing to add elements of jazz and R&B to it’s traditional blues approach. The horn section, staffed by David Sanborn, Gene Dinwiddie and Keith Johnson, was featured throughout the album, sharing the spotlight with guitarist Elvin Bishop and band leader Butterfields signature harmonica runs. Lead vocal duties are split among the group, with Butterfield singing three songs, Bishop singing one, drummer Phillip Wilson on one and bassist Bugsy Maugh tackling two. Throughout the tracks, there is a spirit of a band being reborn and that exuberance jumps from the grooves with each listen. Remastered from the original analog session tapes and pressed on high-definition vinyl, this album shouldn’t be in your dreams, it should be on your turntable!

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  • Fulsom Lowell - In a Heavy Bag (LP)

    22,00

    Includes out-of-control renditions of Theme from Thunderball; Theme from the Wild Angels; William Tell 1967; Blues Theme, and more

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  • King Albert - The Big Blues (180 gram, Red) (LP)

    22,00

     Standing well over six feet and weighing in at around 250 pounds, it’s no surprise that Albert King earned the nickname ”The Velvet Bulldozer.” Standing on stage with his Gibson Flying V, named Lucy, King cut an imposing visual figure. Still, he made an even bigger impression through his recordings, reaching fans all over the world with his punchy, aggressive guitar playing and his commanding voice. Born on a cotton plantation in Indianola, Mississippi, in 1923, King was introduced music in church, where his father played guitar. After picking up the guitar himself, King played across the south and midwest, winning a strong live following while in pursuit of a successful recording career.

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  • Blues Magoos - Mercury Singles (1966-1968) (LP)

    22,00

    Hailing from NYC, The Blues Magoos took the folk/blues soundtrack of their mid-sixties Greenwich Village contemporaries and forged it into a tough, garage/psych hybrid that attracted fans as quickly as it angered folk club owners, incensed by the band’s volume and unhinged stage show! Signed by Mercury Records in 1966, their inaugural single for the label, a reading of John D. Loudermilk’s ”Tobacco Road,” was a churning 4 1/2 minute(!) plunge into crazed guitar/organ/drum/bass pyrotechnics with vocals careening over the top. The release hailed the arrival of a new and wholly unique voice on the rock scene. It was also a signpost for a new genre. One of the first albums to use ”psychedelic” in the title, it arrived right on time for a generation ready to expand their consciousness with the aid of their turntables. The album’s next single, band-penned ”(We Ain’t Got) Nothin’ Yet,” featured one of the all-time great riffs, an insistent bass run over which keyboards swirled and unison vocals chanted. An absolute smash, ”(We Ain’t Got) Nothin’ Yet” zoomed to #5 on the national pop charts and made the band an exotic household name. In total, The Blues Magoos released three amazing albums and eight incredible singles on Mercury. Longtime fans, Sundazed has now gathered all sixteen A- and B-sides together on The Blues Magoos: Mercury Singles (1966-1968). Featuring the accurate, original mono single mixes from the Mercury masters, these songs have NEVER sounded better!

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  • Paul Butterfield Blues Band - Same (Ltd, Coloured) (LP)

    22,00

    As young blues enthusiasts soaking up the Chicago scene in the early ’60s, Paul Butterfield, Elvin Bishop and Mike Bloomfield frequently encountered one another in the South Side clubs. Butterfield and Bishop soon took their fandom one step further and formed their own blues combo, hiring away Sam Lay and Jerome Arnold from Howlin’ Wolf’s touring band. This quartet of neophytes and veterans began gigging at Big John’s, a folk club on the North Side. Meanwhile, Bloomfield was signed to Columbia Records by John Hammond but the tracks he recorded for the label were shelved. Moving on from his stalled solo career, Bloomfield joined Butterfield and Bishop in the Paul Butterfield Blues Band.

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  • John Mayall's Bluesbreakers - Blues Breakers With Eric Clapton (180 gram, Coloured, Ltd) (LP)

    22,00

    John Mayall and the Blues Breakers – Blues Breakers with Eric Clapton MONO From the pristine U.K. mono masters, with complete original artwork and photos.

    The most influential British blues album of all time, featuring Eric Clapton. 1966’s seminal Blues Breakers with Eric Clapton marked John Mayall’s emergence as a major recording artist, as well as his commercial breakthrough.

    The 12-song LP, considered by many to be the most influential British blues album of all time, marked the official introduction of Mayall’s long-running, ever-evolving combo the Bluesbreakers. Mayall shares the spotlight here with soon-to-be-superstar guitarist Eric Clapton (who quit the Yardbirds in order to pursue his blues muse with Mayall), along with future Fleetwood Mac co-founder John McVie on bass and Hughie Flint on drums. Blues Breakers with Eric Clapton is generally acknowledged as a musical milestone for Clapton; his scorching playing and over-the-top tone dominates the entire album. With the group’s punchy performances captured in straightforward style by noted producer Mike Vernon, the album offers a potent combination of Mayall originals and distinctive interpretations of songs by Ray Charles, Freddie King, Little Walter and Otis Rush.

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  • John Mayall's Bluesbreakers - Crusade (180 gram) (LP)

    22,00

    Mick Taylor, then an 18-year-old fret-board phenom, is welcomed into the Bluesbreakers fold on this 1967 LP. The future Rolling Stone joins John McVie, Keef Hartley and the boys on a stellar set of Mayall originals and classics by the likes of Sonny Boy Williamson and Willie Dixon: Oh, Pretty Woman; Snowy Wood; Checking on My Baby; I Can’t Quit You Baby; Tears in My Eyes, and more

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  • Leathercoated Minds - A Trip Down The Sunset Strip (CD)

    13,00

    In the annals of sixties West Coast exploitation album-making, A Trip Down the Sunset Strip by the Leathercoated Minds is in a class all by itself. Serving up radically rearranged, cool covers of the era, red hot guitar instros (courtesy of producer J.J. Cale), and authentic sound effects from the Strip, it succeeds as the perfect time capsule of Los Angeles’ teeming teen scene, c.1966. From the pristine Viva Records mono master tape.

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