Mega Blowout Sale

Two generations of British folk royalty show how it’s done, live and without a net!

“This DVD could easily serve as a primer on English Folk 101. This well recorded show is a welcome addition to any trad music lover's library. The interplay between Martin and daughter Eliza is intuitive, a wonderfully played Martin 000-18 and her lively fiddle is all it takes to set the stage for the wonderful emotions these old songs unfold. Nothing else needed here; I've been fortunate to see MC a few times...

“This deluxe 2-CD digibook package is the first comprehensive retrospective of the work of Alvin Cash, the prime generator of dance craze tracks in the Chicago soul scene of the 1960s, which became so popular nationally. The set includes his only LP release named after his biggest hit, 'Twine Time' alongside his singles for Mar-V-Lus, Toddlin' Town, Seventy-Seven and Sound Stage Seven. The set is filled with dance-based hits including 'The Twine', 'The Boo Ga Loo', 'The Bump', 'The Barracuda'...

Totally cool-o-matic early rockabilly with Johnny and his original group. Surprisingly very good sound from these over 60 year old broadcasts!!

“Johnny Cash is a hugely celebrated, enigmatic figure in American roots music and one whose legacy continues to thrive and influence millions worldwide. His roots are well documented as is his lengthy career, but his early work with guitarist Luther Perkins and bassist Marshall Grant is not so widely acknowledged. In particular, their early appearances...

The first of three Hughscore albums. This was the first collaboration between UK bassist/composer Hugh Hopper (Soft Machine, Gilgamesh, Isotope and so much more!) & Seattle band Caveman Shoestore (hence the name).
This is where I first heard (and heard of) keyboardist/vocalist Elaine DiFalco (now with Thinking Plague).

"A brainy, yet highly engaging septet.... should come as a delight to fans of the Claudia Quintet's ethereal chamber-prog." – Time Out NY

"The Cellar And Point is the chamber-like enterprise of a productive partnership..." – The New York Times


The Cellar And Point is an adventurous 'garage chamber' band, developed and led by childhood friends Joseph Branciforte and Christopher Botta. They had long imagined a fluid synthesis of their wide-ranging..

"This, the Chambers Brothers' coming-of-age record, was a well-timed and even better executed exercise in modern record-making. The brothers had recorded several excellent gospel-folk sides on a few labels (including CBS) in the mid-'60s. They were darlings of the folk set, and even sang backup on a few unreleased Bob Dylan sessions in 1965.
By 1967, they were at loose ends. Having demoed a slightly demented song that year called "Time Has Come Today," the group entered the studio with producer...

“Houston's Chameleon’s musical approach is smack dab in the middle of the [70s progressive rock] movement, with thoughtful radio friendly numbers juxtaposed against much more complex chart structures, and intricate songwriting.
The majority of the album comes from two sessions, one from 1976 and the other 1978. There are also a couple of songs from 1973 and '74 when they were still known as Lorien. The latter track (nearly 10 minutes) opens the CD, and is one of the more overt progressive tracks...

“A cross of early Funkadelic and the baddest of the Man in Black...”

“This album was originally released, to virtually no fanfare at all, in 1981, but the recordings date back to 1977-1980. The artist who made this album is called Chance, but his real name is Chance Martin and he was a longtime member of Johnny Cash's band, and also played with, or hung out with, a variety of other musicians, ranging from country slickers to crazy rockers. That musical diversity is definitely reflected on...

Originally, Ian Jones, founded a new version of Karnataka, and toured and wrote material, with an eye to releasing a new Karnataka album with a new line-up called “Chasing The Monsoon”, but obviously he decided instead to go forward with a fresh start…

“Ian Jones, a founder member of critically acclaimed symphonic/progressive rock band Karnataka, and Steve Evans, multi-million selling songwriter and producer join forces with vocalist Lisa Fury, guitarist Ian Simmons and special guests including...

Named after the moving company that Phillip Glass and Steve Reich ran in the early 70s/late 60s, when they were struggling [really]!

“Debut release from Thurston Moore's (Sonic Youth) new band--perfectly discordant minor key indie rock packed with driving, distorted guitar love and magnificently mesmerizing post-punk noise chords.
Plenty of ripping feedback and even a bit of post-rock/metal riffing lends power & guts to the core of this pensively blasting monster. An indie slacker ethos....

"Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation." Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the...

“No doubt, this is surely the most experimental album you'll find on the A&M label [editor’s note: No, I would submit ‘Mekanik Destruktiw Kommandoh’ for that prize – but I digress...] I echo other reviewer's sentiments, in that it seems almost unbelievable the band were able to get this OK'd for release as their debut album for the label!
Sides 1 & 2 would have made for a fine, progressive leaning LP, with side 1 featuring country influenced, semi-commercial rock, and side 2's excellent progressive...

"Are Chrome Hoof the best live band in the UK...?" – headline from The Quietus

"...has the subtlety of Can, the pomp of Pentagram and Sabbath, faithfully reproducing the looping musical themes of Magma and Goblin..." – Don’t Panic

"...a dizzying, many-limbed whirlwind of space-funk, soul, prog, jazz & titanic doom." –NME

"...a mind-blowing energetic mix of math-rock, prog, funk, disco, & psychedelia [with] some hints of jazz & metal.” – The 405

This was the second solo album by the Return to Forever bassist, released in 1974 when RTF were in their prime/peak. It's an all-star cast of young, hot, fusion kids playing their socks off: Stanley, Tony Williams (drums), Jan Hammer (keyboards)...

The incredible 2nd release by this sensational 'jazz and beyond' ensemble that started it all! Their music, while clearly influenced by the jazz idiom, goes far beyond jazz, and many parts of this record have more in common with musicians such as L'Ensemble Raye, Hamster Theatre, Nimal, Von Zamla and others. This album demonstrates that, "Innovative jazz does not have to be harsh, angry, loud, shrill or grating; it can be delicate, witty, ethereal and radiantly lyric, as the Claudia Quintet pointed....

The Claudia Quintet is proof positive that the pessimists were wrong: jazz is not dead, despite being embalmed by major labels and confined by some musicians to dead ends. In the works of this sensational NY-based, 'jazz and beyond' ensemble, jazz has broken through its rigid shell and been reborn in shimmering and beautifully alluring new form. It lives and breathes in music that melds influences from classical minimalism, new music composition, and progressive and post-rock with an astonishingly fresh...

“Rich with ambition and empathetic interplay...the Claudia Quintet doesn’t...sound like anybody else. Which is exactly what makes them worth seeking out.” — Los Angeles Times

Led by composer, drummer and three-time Grammy nominee John Hollenbeck, The Claudia Quintet have quietly but firmly and definitively recast jazz into shimmering new shapes inflected by classical minimalism, new music, progressive rock and post-rock. They are one of the most influential stylists...

“Guitarist Nels Cline redefines everything he visits on this album. Lovers is like a long-lost, 2-disc Pat Metheny album, except it’s not – it’s too amorphous. Lovers is smooth jazz, except it’s not – there’s too much improvisation. Lovers is a set of jazz standards, except it’s not – Cline includes covers of Annette Peacock and Kim Gordon. Lovers is mood music, except when it gets moody. Lovers is quietly diverse, more than the sum of its parts, like and unlike nothing you’ve heard before.”-John W Dunner

"Having made landmark recordings with Miles Davis, formed pioneering fusion bands Dreams and Mahavishnu Orchestra, and made several fine solo albums, by 1978 Billy Cobham was firmly established as one of the world's leading jazz-rock drummers. This superb set was taped for radio broadcast by WXRT-FM at Park West, Chicago, Illinois, on March 4, 1978, and finds him supported by his recently formed Magic Band, consisting of Charles Singleton (sax, reeds, guitar), Ray Mouton (guitar), Alvin Batiste...

Avishai Cohen-piano, electric bass & vocals
Yagil Baras-bass
Antonio Sanchez-drums & vocals
Avi Lebovich-trombone & vocals
Yosvany Terry-alto & tenor sax
Diego Urcola-trumpet & flugelhorn

“This is new, original, cutting-edge music that is not afraid to be accessible. Cohen has no interest in obfuscation or esoterica. He uses a myriad of ethnic influences, from Israeli to Brazilian to African to synthesize a new music that is intelligent, exciting and engaging on every level

“The Future is the ninth studio album by the Canadian singer-songwriter Leonard Cohen, released in 1992. Almost an hour in length, it was Cohen's longest album up to that date. Both the fall of the Berlin Wall and the 1992 Los Angeles riots took place while Cohen was writing and recording the album, which expressed his sense of the world's turbulence.”

“Two years before their Billboard chart topping Virgin Beauty album, Ornette Coleman and Prime Time, his mutant funk-fusion outfit, here perform an extensive set including Song X, Dancing In Your Head, Turnaround, In All Languages and Kathelin Gray.
This 2CD set was recorded at Live Under The Sky, Yomuri-Land Theatre East, Tokyo, Japan on July 27th 1986.”

“The Texan blues giant Albert Collins enjoys far greater divinity in modern times than he was ever afforded before, especially at the point in his career when he provided a stunning set at Joe's Place in Cambridge, MA in 1973. Joe's Place offered a smaller and more intimate setting for Collins, who performs a selection of his repertoire including "Backstroke," "Frosty" and "Thaw Out," three gems from his 1965 debut The Cool Sounds of Albert Collins. Collins applied his unique and revered style with...

Colour Haze are a great, mostly instrumental, German guitar/bass/drums psychedelic trio. This is a reissue of the group's long out of print first album, originally released in 2001. The sound here is rawer and more guitar-y psychedelic than later, but...

A iconic mid 60s John Coltrane album that deserves every singe gram of eminence it has gained in 55 years and counting. If you don't own it, this is a must. Period.

"One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half...

“For the 1962 European tour John Coltrane led his quartet to new heights. This set includes an extremely rare recording of Autumn Leaves, a ferocious version of Impressions and two of his iconic covers - The Inchworm and My Favorite Things - the latter played to the point of destruction.
This is the group responsible for twenty of modern jazz's seminal recordings from 1961's Live at the Village Vanguard to 1965's Sun Ship. Two years clear of his last tour with Miles Davis and just 5 years shy of his..

“Trane's two blazing performances at Newport in 1963 and 1965 have now been reissued onto one bargain CD! The 1963 performance, even though it featured Roy Haynes on drums instead of regular Elvin Jones, has long been counted among Coltrane's most fiery performances; it appears here with an unreleased extended version of Impressions. Jones is back behind the kit for the 1965 performance, which consists of just two tracks, One Down, One Up and My Favorite Things. Transforming music from a great artist.”

Excellent release by Ravi (sax) and band; Luis Perdomo-piano, Drew Gress-bass, EJ Strickland-drums.
Is he his father reincarnated? Is he breaking ground the same way his father did? The answer to both of these questions is no, but he is a fine player and this is a fine, contemporary jazz album; nicely recorded and superbly played with a lot of passion.

"On his fourth studio effort, saxophonist Ravi Coltrane charts a softly expansive, reverently adventurous course that by no means shatters...

“Continental Crawler was many things rolled into one; one part garage, one part power-pop, one part punk — but all featuring former members of punk band The Misfits. In the mid 70’s, The Misfits’ lead singer Glenn Danzig was a member of several groups, playing original material with drummer Jim Catania and guitarists Stevie Lin and Chaz Jones.
In 1977, Catania and Lin joined up with bassist Mike Myers and became Continental Crawler; Chaz Jones then joined on keys and guitar. Lin and Jones were...

“Continuum was an ambitious recording project conceived in Holland by Hungarian multi-instrumentalist Yoel Schwarcz in 1967. Released in 1970, Continuum's first album is a confident statement of not only visionary ambition, but also a gifted and spiritual determination.
Similar in style to ELO's early work with its heavy cello, phased strings, and overall dramatic swamp, and with such celebrated guests as Richard Hartley and Patric Standford, Continuum is a truly inspired production of ethereal...

"The sophomore effort from the extraordinary drummer Sebastiaan Cornelissen featuring an all-star lineup - guitarists Alex Machacek, Mike Otram, Susan Weinert, Richard Hallebeek; keyboardists Gary Husband, Scott Kinsey, and Steve Hunt; and bassists...

"Amazingly, Larry Coryell's Eleventh House were somewhat overshadowed in their time by fusion counterparts such as Weather Report, Return to Forever, and The Mahavishnu Orchestra. However, the dynamics and interaction on display here feature not only beautifully intricate work, but ingenious melodic scales befitting musicians of the highest technical ability. While 1975's Level One never commercially achieved the classic status of its predecessor (Introducing the Eleventh House with Larry Coryell)...

Costello’s great second album; one of his finest!

“With his second album, Elvis Costello firmly established himself as one of rock's--not just punk/new wave's--premier singer-songwriters. Building on the promise of his '77 debut, My Aim Is True, Costello put together a backing touring trio, the Attractions (keyboardist Steve Nieve, bassist Bruce Thomas, and drummer Pete Thomas), and their versatility helped Costello define himself as a punk-fuelled power-pop force. Sporting influences ranging...

NOTE: Sometimes great deals come with a caveat. These are cut-out copies that we pulled out of the lost warehouse. The cuts are quite large; they don't affect the discs, but the package is quite brutalized.

Elvis Costello released a bunch of...

This is a really good collaboration from hugely talented folks who you would not expect to work together, but, actually, if you think about it, make total sense to work together.

"Musicians separated by age, style, and demographic, Elvis Costello and the Roots are nevertheless natural collaborators bound by wide taste, insatiable appetite, and fathomless record collections. This is particularly true of Roots drummer/de facto bandleader ?uestlove, the musical omnivore who is the band's most...

“Reuniting Cotton with his former guitarists Matt Murphy and Luther Tucker, pianist Pinetop Perkins, and Muddy Waters' ex-rhythm section (bassist Calvin Jones and drummer Willie Smith) looks like a great idea on paper, and it worked equally well in the flesh, when this set was cut live at Antone's Night Club in Austin, TX.”-AllMusic

“Although the titles are all familiar (most of them a little too much so), Cotton and his all-star cohorts (guitarists Jimmie Vaughan, Matt Murphy, Luther Tucker, Hubert Sumlin, and Wayne Bennett, with the omnipresent Perkins on keys) pull the whole thing off beautifully. Cotton's cover of Wolf's "Moanin' at Midnight" is remarkably eerie in its own right, and he romps through Muddy Waters' "Blow Wind Blow" and "Sugar Sweet" with joyous alacrity.”-AllMusic

The famous documentary film of Cream's farewell concert from The Royal Albert Hall, on November 26th, 1968. I remember seeing this on TV several times as a Cream-addled youth; amazing to see it again now.

“It was Baker, Bruce and Clapton who demonstrated that harmonically and structurally, what was dismissed as rock'n'roll could be every bit as complex as any contemporary, so-called classical, music. I believe that what still gives the film its power is partly a result of the circumstances in...

“Resin Pockets is the first album in a decade from long-running Bristol, U.K. indie group Crescent, and their first for Domino sublabel Geographic, which had previously reissued the debut album by related band Movietone. Crescent's principal member remains singer/songwriter Matt Jones, who co-founded the group during the early '90s and is responsible for most of their material. His brother Sam plays drums and tambourine on the release, longtime member Kate Wright sings on the album's final song, and a...

More roots of Brit-jazz here.
"Digitally remastered reissue of this 1961 album from the jazz drummer. Whole Lotta Tony was recorded and released in 1961 on Ember, and credited to Tony Crombie & His Friends. Drummer Crombie's CV to date had...

This progressive, eclectic and sometimes electric folk / not folk album is tuneful and mighty enjoyable. Hard to categorize though, as it’s a very personal music.

“This is an intriguing album which might be loosely described as folk, given the traditional leanings of the track listing. However, it's the instrumentation, musicianship and overall mood of this fine collection which makes it a must buy for any serious collector. The first track, for example, played on a ba-wu accompanied...

“This set has floated around in bootleg form for a while now, but this is the first "legitimate" release of this gig. It features Crosby -guitar/vocals, Jerry Garcia-guitar/vocals. Phil Lesh-bass, and (according to some Dead followers) either Hart or Kreutzmann on drums. The eight tracks are almost all fairly lengthy, giving the band (especially Garcia) a chance to really get into the music. The booklet has pieces of an interview from Rolling Stone from 1970.
Recorded before the release of Crosby's...

“2016 album by former King Crimson violinist and Mellotron player David Cross and Sean Quinn. Cold Sky Blue is a sonic melting pot taking in prog, ambient, synthpop and even a sprinkling of dubstep, which is simultaneously timeless and modern.
David and Sean were introduced by a mutual friend and after a lengthy phone conversation, pitched a couple of ideas at each other which became Skyline Vertical and Cold Sky Blue. They then agreed to expand the collaborative nature of the record and Beth Hirsch..

Beppe Crovella-Mellotron, Fender Rhodes Stage 73 electric piano, Wurlitzer E200 electric piano, Hohner electric piano, Hohner Clavinet D6, Rösler Grand Piano, Hammond Organ M102, Farifsa Professional (neither analog or digital synthesizers, or other digital keyboards were used on this recording).

"...Beppe Crovella (Arti e Mestieri) delivers a heartfelt and long-overdue appreciation of one of the defining voices of the jazz-rock idiom, Soft Machine keyboard player and composer Mike Ratledge...

So, I saw this young band from Chicago at a house concert a couple of weeks ago. They were very good and very cool and the show I saw was the 1st show of a 2 month tour all the way across the USA and back.

They don't sound anything like it...

Lorraine Bailey – vocals, keys, alto saxophone, flute, synth bass
Jack Bouboushian – vocals, guitar, organ, microphone
Bill Miller – drum kit, percussion
Matt Puhr – bass

Crown Larks are an excellent Chicago band who play a cool unique progressive rock with heavy psych influences. I stumbled upon them a couple of years ago and they impressed and I was a instant convert!

"...demonstrates a learned appreciation for the city’s recent underground musical history (particularly th

Lorraine Bailey – vocals, keys, alto saxophone, flute, synth bass
Jack Bouboushian – vocals, guitar, organ, microphone
Bill Miller – drum kit, percussion
Matt Puhr – bass

Crown Larks are an excellent Chicago band who play a cool unique progressive rock with heavy psych influences. I stumbled upon them a couple of years ago and they impressed and I was a instant convert!

"...demonstrates a learned appreciation for the city’s recent underground musical history (particularly th

Anti von Klewitz (violin, viola & voice)
Sander Hoving (kontra, violin, viola)
Anneke Frankenberg (violin, viola)
Jens Piezunka (double bass)

Csókolom play Eastern European folk music with a gypsy flavor, emphasizing arrangements using two or three violins and a double bass. The leader and singer for the group is fiddler Anti von Klewitz, who in addition to playing traditional Hungarian music has studied jazz (under bassist Reggie Workman) and classical, and has also played in a sals

“Fronted by the charismatic Sonja Kristina and driven by Darryl Way's innovative violin, Curved Air burst onto the British music scene in the Autumn of 1970, seemingly out of nowhere. Championed by John Peel, their exciting and unique brand of progressive rock captivated audiences and made them live favourites. This superb release finds them at the peak of their powers on two radio broadcast performances and is presented together with background liner notes and archive images.”

Sounds Of The....

For a number of years in the late 90s, Chris traveled the the world, giving solo performances on his specially made electric kit and various acoutrements.
I’m biased because I saw several of these concerts (and even put on at least one), but they were very different, very entertaining and very much completely NOT what you would expect a ‘solo drum concert’ to sound like, probably because it wasn’t a ‘solo drum concert’. Conditionally recommended!!

"Here at last, a solo electronic drum...