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.