70's

ARTIST: JOHN LENNON & YOKO ONO
TITLE: MILK AND HONEY
FORMAT: LP (gatefold)
LABEL: POLYDOR RECORDS
CATALOGUE NUMBER: 5357103

The sessions for 1980's Double Fantasy were supposed to yield two albums, the second to be released at a future time, but Lennon's assassination tragically halted the project in its tracks. A bit over three years later, Yoko Ono issued tapes of many of the songs planned for that album under the title Milk and Honey, laid out in the same John-Yoko-John-Yoko dialogue fashion as its predecessor.

Marta Kubisová is a Pop-Jazz- Soul singer from Czech Republic. This single should be released in 1970 but it was censured in her country!

In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems which would ultimately become the "Singer Not The Song" EP and "Bach's Bottom" album. "Take Me Home And Make Me Like It" is a raw document of one of the pivotal moments in Alex Chilton's career. It features previously unreleased rehearsals and alternate takes that tell the story of a troubled recording process that nevertheless produced intensely unique music.Notes by Alex Chilton and Jon Tiven. Pressed on 180g vinyl.

ARTIST: GRAM PARSONS
TITLE: GRIEVOUS ANGEL
FORMAT: LP (180 gr)
LABEL: RHINO RECORDS
CATALOGUE NUMBER: 8122795955

Parsons' second studio album. Compiled from his 1973 sessions.

Continuing our reissue programme of Motorhead's Chiswick albums on vinyl, September sees the release of "What's Words Worth_" on lobster red vinyl. A live album, it was recorded on 18th February 1978 at a benefit organised by Wilko Johnson to raise money to preserve some William Wordsworth manuscripts. The Rolling Stones mobile had been hired to record Chiswick labe/lmates the Count Bishops, but they also recorded Motorhead's set. For contractual reasons they were billed as Iron Fist ^ the Hordes From Hell. Includes an illustrated inner sleeve with a full note by Chiswick boss Ted Carroll.

ARTIST: ELECTRIC LIGHT ORCHESTRA
TITLE: ELDORADO. A SYMPHONY BY THE ELECTRIC LIGHT ORCHESTRA
FORMAT: LP
LABEL: LEGACY RECORDS
CATALOGUE NUMBER: 88875175271

This is the album where Jeff Lynne finally found the sound he'd wanted since co-founding Electric Light Orchestra three years earlier.

Recorded live in Toronto on October 28, 1982 during the Zombie Birdhouse Tour, this live album shows the iguana in top form and reconciled Mr. Ostenberg with his fans thanks to this incredibly wild performance.

ARTIST: THE PIRATES
TITLE: ALL IN IT TOGETHER
FORMAT: 12"
LABEL: WARNER BROS. RECORDS
CATALOGUE NUMBER: K 17113

Released in 1978.

Live radio broadcast.

ARTIST: AMON DÜÜL
TITLE: WOLF CITY
FORMAT: 2xLP (gatefold)
LABEL: SPV
CATALOGUE NUMBER: SPV 305371 2LP

A 1972 Krautrock masterpiece. Reissue on 180 gram.

Reissue on 180 gr vinyl.

Mastered from original analog tape.

180 gram LP.
Cut from analogue masters.
Original artwork.

Record Store Day 2019
Comes with silver hype sticker on bottom right hand corner of the shrink wrap: partially printed, partially embossed.
Sticker Barcode
Limited to 20,000 copies worldwide.

Recorded live at the Barbican Centre, London, at the Syd Barrett Tribute Concert, 'The Madcap's Last Laugh'', 10th May 2007
Record Store Day 2020 exclusive, 4700 copies produced.

Snakes & Ladders is a fine 12-song overview of the Faces, containing some of the group's best songs ("Had Me a Real Good Time," "Stay With Me," "Miss Judy's Farm," "Sweet Lady Mary," "Ooh La La," "Cindy Incidentally"), along with a couple of mediocre cuts ("Pineapple and the Monkey," "Flying") and the unremarkable, single-only "Pool Hall Richard." Though it gives a sense of what made the Faces a great rock & roll band, it falls far short of being a definitive retrospective or introduction.

(Allmusic.com)

First album, released in 1979, of this rock/AOR american band.

180 gram vinyl and 4-page fold-out poster-style insert.

Transformer and "Walk on the Wild Side" were both major hits in 1972, to the surprise of both Lou Reed and the music industry, and with Reed suddenly a hot commodity, he used his newly won clout to make the most ambitious album of his career, Berlin. Berlin was the musical equivalent of a drug-addled kid set loose in a candy store; the album's songs, which form a loose story line about a doomed romance between two chemically fueled bohemians, were fleshed out with a huge, boomy production (Bob Ezrin at his most grandiose) and arrangements overloaded with guitars, keyboards, horns, strings, and any other kitchen sink that was handy (the session band included Jack Bruce, Steve Winwood, Aynsley Dunbar, and Tony Levin). And while Reed had often been accused of focusing on the dark side of life, he and Ezrin approached Berlin as their opportunity to make The Most Depressing Album of All Time, and they hardly missed a trick. This all seemed a bit much for an artist who made such superb use of the two-guitars/bass/drums lineup with the Velvet Underground, especially since Reed doesn't even play electric guitar on the album; the sheer size of Berlin ultimately overpowers both Reed and his material. But if Berlin is largely a failure of ambition, that sets it apart from the vast majority of Reed's lesser works; Lou's vocals are both precise and impassioned, and though a few of the songs are little more than sketches, the best -- "How Do You Think It Feels," "Oh, Jim," "The Kids," and "Sad Song" -- are powerful, bitter stuff. It's hard not to be impressed by Berlin, given the sheer scope of the project, but while it earns an A for effort, the actual execution merits more of a B-.

(Allmusic.com)

The Rolling Stones' 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of the Beatles, Kinks, Dylan, and psychedelic music. Approach this album with an open mind, though, and you'll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees. The lyrics are getting better (if more savage), and the arrangements more creative, on brooding near-classics like "All Sold Out," "My Obsession," and "Yesterday's Papers." "She Smiled Sweetly" shows their hidden romantic side at its best, while "Connection" is one of the record's few slabs of conventionally driving rock. The best tracks on the American edition were the two songs that gave the group a double-sided number one in early 1967: the lustful "Let's Spend the Night Together" and the beautiful, melancholy "Ruby Tuesday," which is as melodic as anything Mick Jagger and Keith Richards would ever write.

(Allmusic.com)

The first hits compilation of the Rolling Stones is still one of the most potent collections of singles that one can find. Listening to it in 1966 or today, one can understand how, almost prematurely for the 1960s -- as most of the material here dates from 1964 or 1965 -- the Stones set themselves up as the decade's most visible rock & roll rebels. The defiant, in-your-face fuzztone riff and sexually frustrated lyrics of "(I Can't Get No) Satisfaction" and the frenetic pounding punk anthem "Get Off of My Cloud" are highlights of a 12-song set that has no weak points, only peaks -- the louder-than-life rhythm guitars on "It's All Over Now" and "The Last Time," the wailing R&B of "Time Is on My Side," the balladry, folk, and soul style of "As Tears Go By" and "Tell Me," and all of the rest make for a body of work that's still amazing to hear decades after the fact. Appearing as it did in the late winter of 1966, this collection completely missed the group's drift into psychedelia, and it has since been supplanted by Hot Rocks and More Hot Rocks, but Big Hits is still the most concentrated dose of the early Stones at their most accessible that is to be had, short of simply playing their first five U.S. albums. The artwork and photography were pretty cool too, and the original LP had one of rock's early classic gatefold album designs.

(Allmusic.com)

Recorded October 16, 1979, Live US Broadcast 1979.

Live Radio Broadcast. Recorded live at Paradise Theatre, Boston, 1978.

This is the black 180 gram vinyl version housed into a gatefold cover, inner sleeve with printed credits.

Recorded live Woodstock 13th August 1994 (live radio broadcast transmitted live).

Reissue on 180 gr vinyl.

40th anniversary limited edition on picture-disc.

Recorded at Santa Monica Civic Auditorium, 1972.

Recorded live in 1997.

Second volume of this amazing compilation.

Box contains a 6" x 4" photographic print and a 4 page insert with liner notes and credits. Each disc is housed in a poly-lined white paper inner sleeve, inside a stiff, brown, die-cut card outer sleeve

This new limited edition comes in a special six page cover. Flip Gatefold Cover. 10” Version releases 29-06-2018 and only available on release day via ‘bricks and mortar’ record stores according to Parlophone press release.

Recorded live in Santiago, Chile, 1990.

Recorded live at the Nassau Coliseum, Uniondale, NY., USA March 23 1976
Gatefold sleeve holds black poly-lined inner sleeves.

Record Store Day 2018 exclusive edition.

Box set.
"2x7" singles in rare and new picture sleeves.
Includes photo print and double sided poster.
The singles feature the original mono single cut directly from the original analogue tape with brand new Tony Visconti mixes.

First physical release of these tracks. Previously available as an internet download only for a strictly limited period in December 2018.
Boxed, no hinge.
Each record is housed in a die cut stiff brown card outer and then within in an anti-static white paper die cut inner.
Includes a 4-page folded booklet and a black-and-white photo postcard of Bowie.

All tracks are unreleased radio sessions.
Tracks 1-2 Trident Studios 1970
Tracks 3-6 The Sunday Concert 03.06.71
Tracks 7-12 Sounds Of The Seventies 21.09.71
Track 13 Lift Off With Ayshea 21.06.72

LP - Record Store Day 2019 Release. 180 Gram Blue Vinyl.
3500 copies.

Reissue remastered on 180 gr vinyl. Includes printed inner sleeve containing lyrics and credits.

Limited edition on picture-disc.

Limited edition on green marble vinyl.

Reissue on 180 gr vinyl.

The Rolling Stones as you've never heard them before: LIVE FROM THE BBC. Includes Double 180g Vinyl & Download Card.

Limited edition of 2500 copies on 10" picture-disc.

Limited edition!
Complete show recorded live on 08 August 1964.
LP housed in hard cover slipcase containing 32 page book of rare photos from the actual concert, a reproduction of the event poster, and DVD featuring footage of the gig as well as interviews with fans and employees. The documentary on the DVD was a TV broadcast in the series "Andere Tijden" ("Different Times") on the Dutch public broadcast NPO in 2011.

Remastered reissue.

Remastered reissue.

2018 re-issue, remastered for the first time on vinyl and expanded across two LP's to maximise audio quality.

Remastered reissue on 180 gr vinyl.

2 Lp set sourced from the BBC archives on 180 gr vinyl.

French remastered reissue of "Get The Picture?" with bonus on 180 gr vinyl.

Limited edition of 1000 copys in white vinyl with bonus CD. Numbered. Gatefold sleeve with 2 jackets.
The complete studio album newly remastered.
Cut at Abbey Road Studios & pressed on 180g white vinyl.
Bonus CD featuring unreleased 1975 Ultrasonic Studio sessions.
Plus, a fold-out poster, 12" insert with liner notes by Mike Stax & a 4-page replica Swan Song press release booklet.

Single from 2017. B21 and B2 " live tracks from 1968, almost certainly from the band's Hyde Park concert on July 27th.

Limited edition of 1000 hand-numbered copies in white vinyl with bonus CD. Gatefold sleeve with 2 jackets.
The complete studio album newly remasterd.
Cut at Abbey Road Studios & pressed on 180g white vinyl.
Bonus CD includes unreleased Live At Carnegie Hall show.
Plus, a fold-out poster, 12" insert with liner notes by Mike Stax & a 4-page replica Swan Song press release booklet.

Their farewell album, released in 2020 on red vinyl and limited edition.

Christmas Special, Philipshalle, Düsseldorf, Germany, 19. December 1998.

Remastered Rare Live Show Recorded During The Swan Song Era
Cut At Abbey Road Studios And Pressed On 180G Blue Vinyl
Includes 12" Insert With New Liner Notes By Mike Stax

The SF Sorrow deluxe vinyl box set features four 12" LPs, four rare European 1960s picture sleeve 7” singles, and handwritten recollections from Phil May, Dick Taylor, Jon Povey and Wally Waller on individually signed inserts.

The first two LPs feature the mono and stereo versions of the album cut from the original Abbey Road master tapes packaged in facsimile versions of the original UK gatefold and USA 'Tombstone' sleeves respectively. The third and fourth LPs comprise a 2LP set of the 1998 Live At Abbey Road anniversary recording with David Gilmour and Arthur Brown on vinyl for the very first time.

Deluxe and limited box set of the farewell show.

14 anthems from the vaults of Aussie Skinhead gangs 1972-1979.Sharpies were the terror-teen cast of a Richard Allen novel that never was. Although largely synonymous with the early-to-mid 1970s, reports of their violent clashes with rival gangs of Mods are documented as early as 1966. Bored, working-class, suburban kids, their teenage rampage began in Melbourne, Australia, but soon there were Sharpie gangs forming in Sydney, Perth and beyond. For a while they were the untouchables, ruling dances, discos and public transport with their fists. Sharpies were fiercely territorial and divided into different chapters according to location. They would often wage aggressive wars within their tightly delineated sub-gangs, although Mods always remained their archenemies. Sharpie boys and girls wore similar uniforms: a slim-fitting, ribbed and collared cardigan called a Conny, T-shirts, tight jeans (Lee or Levis) and big platform shoes. Hair was worn short or shaved with long wisps at the back, influenced by the British ska, mod and skinhead subcultures. Sharpie girls had their hair slightly longer and often with colored streaks - Bowie-red was their color of choice. Boys often bleached their hair. Tattoos were popular, although many were homemade and poorly executed. Their diet was anthemic glam-rock, kung-fu movies and Kubricks A Clockwork Orange. As the 1970s drew to a close, and new styles like punk and disco began to emerge, Sharpies started to fade. By 1979 they were all but gone. Today they are recognized as an important part of Australian youth culture and social history. This compilation features rare tracks and 'cult' anthems that were the soundtrack to the rise of this Australian answer to the skinhead subculture: with the likes of the Hush, Fat Daddy, Supernaut, Skyhooks, John Paul Young... it can't be missing in any 'Killed By Death' type collection!

180-Gram Audiophile vinyl, newly remastered from original analog tapes.

Reissue on 180 gr vinyl and gatefold cover of this classic released in 1975.

Compilation of this british folk legend. Released three albums before he died in 1974 from an overdose of anti-depressant medication.

Remastered reissue on 18o gr vinyl.
"This album is a compilation of fragments from my recorded work over the last two or three years. Some of it was made specifically for use as soundtrack material, some of it was made for other reasons but found its way into films; most of it is previously unissued in any form".

"The Villagers" b/w "Pain and Suffering" (Previously Unreleased Version)
Numbered coloured vinyl.
RSD 2019 Exclusive.

Recorded at The King Biscuit Flower Hour 04-11-1975, Cardiff.

Record Store Day Black Friday 2020 "RSD First" release, limited to 7,000 copies. Issued in non-gatefold jacket with single-page insert with lyrics and credits.
First time on vinyl since an original limited release
Pressed on 2 LPs for the first time ever
180-gram vinyl with side 4 etching
Limited edition of 7,000

Reissue of their classic album from 1971 with gatefold cover.

Reissue of their classic album from 1970.

Recorded live at Old Warlord Hotel, San Francisco, on september, 3, 1977.

Recorded live at Capitol Theatre in 1974.

Remastered reissue of his album from 1975.

Remastered reissue on 180 gr. vinyl.

Reissue of his 1977 album.

Twenty four tracks of some of the best New York punk bands from the seventies: Wayne County, Heartbreakers, Suicide... Limited edition.

Limited edition on grey vinyl.

Remastered reissue on 180 gr. vinyl of his album from 2002.

Limited edition on blue vinyl.

Martin Rev and his fourth album followed Suicide's Why be blue album from 1992. Released by the Roir label, sixteen songs with melody cuttings instead of defined structures, showing the power of R&B distilled through a keyboard and with the same sentimental or poetic tone as the Jonathan Richman or Chet Baker recordings. A nostalgic portrait of NY with romantic energy about, by and for the metropolis.

Martin Rev's fifth solo album was created at the cusp of the millennium. Angry, electric music, condensed in the memories of the doo wop he heard on the transistor in his childhood. Close to Panasonic, specifically Mika, the original release was carried out on the Finnish label Puu, with traces of contemporary music and track electronics with rhythmic loops and Rev's voice in wild and hypnotic mod.

Martin REV, half of the seminal duo Suicide, released this album alone in 1985 (New Rose). HIS creative process between the minimal form of language and electronics resulted in a way of understanding the music inherited by Air, Daft Punk or Aphex Twin. Clouds was composed from 81 to 84 and took place in the studio dead hours that were accumulating. Visions and ideas that evoke the solemnity of religious music in a meditative tone. A magical place somewhere on your personal journey.

In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems, which would ultimately become the "Bach's Bottom" album. Munster is proud to present this 7" featuring previously unreleased alternate versions of three of those tracks, another instance of Alex Chilton magic.

This single contains two previously unreleased songs recorded by Eve (formerly Mama Cats, Honey Ltd.), the legendary Detroit girl group hired by Lee Hazlewood for their LHI label in 1970. ‘The Warrior’ is a beautiful and delicate dance song that combines a contagious rhythm with the subtlety of the group's vocal harmonies. His backing band includes members of The Eagles, The Wrecking Crew, and the Elvis’TCB band. In the late 1960s, four Detroit teens hitchhiked to Los Angeles to try to make their dream come true. Known as the Mama Cats, the combination of their voices created a magical instrument, a harmonic vehicle built on the inspiration and improvisation of four great friends. Their ethereal voices and heavenly harmonies sounded uniquely. After meeting Lee Hazlewood in Los Angeles, he was overwhelmed by their talent, offering them a contract for his label, Lee Hazlewood Industries (LHI), renaming the band Honey Ltd. Their only LP (1968) never saw the light of day. From the ashes of the group, with the three original components remaining together, Eve emerged. They decided to record a country rock album with a backing super band that included members of The Eagles, The Wrecking Crew, Elvis' TCB band, Ry Cooder, and Sneaky Pete. The two songs included in this single have remained unreleased until now despite the fact that 'The Warrior' had already been recorded by Honey Ltd. in a more folk style. Eve transforms it into a beautiful and delicate dance song that combines an infectious rhythm with the subtlety of the group's vocal harmonies. This release previews a new series of full album reissues from the LHI (Lee Hazlewood Industries Records) catalog that Munster plans to release over the next few months.

The Rockets were natives of London's Ladbroke Grove, and precursors of UK punk rock heroes Warsaw Pakt. They played high-energy rhythm & blues with hard-boiled street-smart lyrics delivered quick and cool against super-charged Chuck Berry guitar licks."The Rockets started in 1975, heavily influenced by Dr Feelgood, who had a residency at the Kensington pub around the corner," relates guitarist Andy Colquhoun. "It was Brit R&B. We played half a dozen Bo Diddley numbers, including'Cops And Robbers', and 60s tunes such as 'I Fought The Law', 'Don't Gimme No Lip' - which, pre-Pistols, was a Dave Berry B-side Bo knockoff - and we played numbers I wrote that eventually got recorded by Warsaw Pakt."The Rockets' line-up featured lead singer Jimmy Coull, Andy Colquhoun on guitar and vocals, bassist Oz Osborne (aka "The Anadin Kid") and Dave Rochelle on drums. "Jimmy Coull has a great R&B voice and was noted for his taste in wines in large containers at very reasonable prices," says Andy.Another key figure in The Rockets was Frank Day, who acted as manager and lyricist. "Frank was, and probably still is, a dapper bloke - a West London 'smoothie' with a passion for R&B and he booked most of our early gigs," explains Andy. "He worked for the London council, and as a croupier, and had enough readies to keep us running. We paid him back, of course."The Rockets made the rounds on the London pub rock circuit and around the south and Midlands. In time-honored tradition they also traveled to Germany - Munich rather than Hamburg -, where five-sets-a-night club dates shaped and sharpened their sound.In early 1976 they recorded a six-song demo tape. Two of the best tracks are presented here for the first time: the tough, cocksure rocker 'Even Money' and the explosive, Who-influenced 'Steppin' Outa Line'. While The Rockets were still rooted in rhythm & blues, their revved-up approach signaled the changes that were already taking place in the streets around them. Pub rock and R&B bands were shedding - or shredding - their old clothes, shearing their hair and reinventing themselves as the part of a new movement: punk rock. The Rockets found themselves opening for bands like The Clash, whose leader, Joe Strummer, had only months before been in R&B/pub rock stalwarts The 101ers. Gradually, The Rockets' already loud and fast sound became louder and faster. The band found they were in a state of identity crisis. "We had a review in NME where they said that we couldn't make up our minds if we were The Pretty Things or The Ramones," remembers Andy. "It was fair enough."Before long the group broke apart. "When The Rockets started getting a bit heavier and faster Frank and Dave drifted away," says Andy. Coull and Colquhoun brought in rhythm guitarist John Manly, bass player Chris Underhill and drummer Wolf (later replaced by Lucas Fox of Motorhead) and became Warsaw Pakt. Significantly, their repertoire still included several Rockets songs, including 'Steppin' Outa Line' and 'Even Money'. With John Manly's input, though, 'Even Money' took on a new meaning. "John entirely re-wrote the lyric," Andy says, "and changed it from a saucy Frank Day lyric to a tale of junkie despair."Right here, though, you can hear those two songs in their original form - rough and ready Rocket-powered rhythm & blues from the streets of mid-70s London.

Mike Stax

Hold your body and mind belts, and immerse yourself into a cornerstone of cosmic music in a double remastered vinyl - one them filled with rarities - called "Crystal Machine" by the visionary Tim Blake, English composer and synthesizer master.Recorded in 1976/7, it remains echoing as a timeless effort, pretty much still alive. This is a deadly serious art piece, accordingly trippy in all its aspects, full of strangeness and sheer beauty.

Munster Records is proud to present the first installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of Eve's, "Take It And Smile". The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band,Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. First ever vinyl reissue. Newly remastered from the original analog tapes by GRAMMY(R)-nominated engineer John Baldwin. New interview with Laura Creamer, Temmer Darigan & Joan Glasser of Eve. Q&A with Eve & GRAMMY(R)-nominated reissue producer Hunter Lea.

Kim Fowley has been a maverick presence in rock & roll history for over fifty years: songwriter, recordings with Gene Vincent, Jonathan Richman & The Modern Lovers and countless others, early manager of The Runaways and plenty of glorious failures along the way."Living In The Street" (1977) is a compilation of his solo recordings, some of them dating back to the beginning of the decade, taken from several singles, alternative projects and overlooked b/sides. It also includes three new acoustic songs with a certain Captain Beefheart's or Dylanesque flavor."Living in the Streets" remains a worthy monument to the seventies recordings of the Dorian Gray of Rock'n'Roll, the human jukebox: the unstoppable Kim Fowley.This is the first ever vinyl reissue and includes an insert with extensive notes by Mike Stax (Ugly Things Magazine) and features its original artwork.

"How does one create three minutes of music that somehow tweaks the soul and seems mysteriously in sync with the most private dreams and longings? On "12 In A Room", Marc Jonson offers an able demonstration of how it's done." Kristine McKenna Self-recorded and produced, Marc Jonson's second album came out in 1992, two decades after his debut, the psych folk/baroque pop masterpiece "Years". "12 In A Room" was another brilliant display of his gift for beautiful pop music, now available on vinyl for the first time. Presented in updated artwork and pressed on 180g vinyl. Includes CD.

Reissued on vinyl for the first time, Marc Jonson's debut, "Years", is a psych folk/baroque pop masterpiece originally released on Vanguard Records in 1972.Just 20 years old at the time, Jonson wrote and produced a gloriously ambitious record influenced by milestone albums such as "Astral Weeks" and "Forever Changes", rich in beautiful melodies and poetic lyricism.Four and a half decades after its original release, "Years" sounds today as relevant and captivating as ever, a stunning gem waiting for rediscovery.Presented in facsimile artwork and pressed on 180g vinyl. Includes 7" with four extra tracks.