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| Merryweather, Neil - Kryptonite
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(Mercury SRM-1-1024 US-75 VG+ 800:-)
Hailing from Canada, Neil Merryweather's history in music stretches back to the mid '60s, first with The Tripp and then onto a couple of psychedelic blues albums in the late '60s and early '70s.
However, it is his mid '70s work - both "Kryptonite" and the previous year's "Space Rangers" - where Merryweather etched himself into cult legend, the pair of albums being crucial records of progressive hard rock.
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| Merryweather, Neil - Space Rangers
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Mercury SRM-1-1007 US-74 VG+ 500:-)
Hailing from Canada, Neil Merryweather's history in music stretches back to the mid '60s, first with The Tripp and then onto a couple of psychedelic blues albums in the late '60s and early '70s.
However, it is his mid '70s work - both "Space Rangers" and the following year's "Kryptonite" - where Merryweather etched himself into cult legend, the pair of albums being crucial records of progressive hard rock.
70's US repress on the Mercury 'skyline' label.
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| Metallica - ...and Justice for All
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(Vertigo 836062-1 EU-88 VG+ 800:-)
The album that changed everything for Metallica – catapulting them from patron saints of unrelentingly heavy thrash metal to reluctant (at first, anyway) mainstream superstars!
The production is glossier sounding than ever before, and whether that compromised the rawer brutality of their heaviest moments is debatable to this day – but that's countered by the slow-building, epic songcraft (the shortest one is over 5 minutes long), odd, and all around ambitiously structured material.
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| Mighty Baby - Egyptian Tomb
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(Psycho PSYCHO-31 UK-84 VG+ 375:-)
Formed in 1968 by ex-members of The Action (a beat-psych outfit with mod/soul elements), Mighty Baby were a UK hippy prog outfit active through to 1971.
Typically British but very wide-ranging, they bridged many rock/prog styles, with blues and folk elements. Some quote them as the British Grateful Dead.
1984 UK re-issue with new artwork.
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| Moebius & Plank - Material
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(Sky Records sky-067 Ger-81 VG+ 600:-)
'Material' is the second album of playful studio experimentation from Konrad 'Conny' Plank and Cluster's Dieter Moebius.
It was recorded at Plank's studio and features the two friends and collaborators in an endearingly explorative mode. The throbbing rockabilly send-up 'Conditionierer' makes a crazy start to the album, and much like the rest of their work at this time, strangely predates the techno culture of Germany by a decade or so.
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| Morrison, Van - Hymns to the Silence
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(Polydor 849026-1 EU-91 VG+ 800:-)
George Ivan 'Van' Morrison stands out in the youth-obsessed, disposable world of modern pop music. A grouchy fireplug of a man, he has earned a loyal following that's always kept guessing as to what direction he'll take next. Since the beginning, Morrison has ignored all fly-by-night fads and in doing so has amassed a timeless body of work.
When Van Morrison released "Hymns to the Silence", he had nothing to prove. These songs focus on his concerns at the time, and let him bring them out in the open and follow them wherever they would take him. The album feels more overtly autobiographical than many of his others - a high point in a career filled with high points.
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| Mott the Hoople - Mott
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(CBS S-69038 UK-73 VG+ 400:-)
A fantastic classic – the kind of record that will remind you that Mott The Hoople were way more than a glam band with a big radio hit – as there's a depth, complexity, and completely satisfying quality to the record that holds on all the way through! Sure, the group's got fantastic guitar – courtesy of Mick Ralphs, who was setting a tone that so many others would copy in years to come – but there's way more going on here, and the group are really getting a sense of their power and identity – even if they were never hitting the full chart status they deserved. The whole thing's great – lots of perfect moments from Ian Hunter!
'73 UK pressing in diecut gatefold sleeve with plastic 'face'. There is a small tear in the lower right side of the diecut.
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| Mott the Hoople - same
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(Island ILPS-9108 UK-69 VG+ 600:-)
Mott's first album is always a delight to listen to. A healthy mixture of covers and originals, it opens with an instrumental cover of the Kinks' "You Really Got Me". Two more covers follow, Doug Sahm's "At The Crossroads" and Sonny Bono's "Laugh At Me", both highlighting the fact that in the early days Ian Hunter's vocal delivery was influenced by Bob Dylan - indeed Dylan fan Lester Bangs, reviewing the album in Rolling Stone magazine, gave it a glowing review, convinced that Dylan had recorded an album under an assumed name.
Original UK pressing. The inside of the gatefold has a previous owners nametag.
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| Motörhead - 1916
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(Epic 467481-1 Hol-91 VG+ 800:-)
Lemmy Kilmister had been leading Motörhead for 16 years by the time "1916" was recorded in 1991.
Over the years, Motörhead had experienced more than its share of personnel changes — and in fact, Kilmister was its only remaining original member. But the band’s sound hadn’t changed much, and time hadn’t made its sledgehammer approach any less appealing.
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