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Ramones - Beat from the Street
(Rock Around The World 109 US-7? EX 375:-)

The Ramones are the first punk rock band. By cutting rock & roll down to its bare essentials -- four chords; a simple, catchy melody; and irresistibly inane lyrics -- and speeding up the tempo considerably, the Ramones created something that was rooted in early '60s, pre-Beatles rock & roll and pop but sounded revolutionary.

This bootleg is shared with Martha Velez; the Ramones were recorded August 12, 1976 at the Roxy, Los Angeles, CA.

Original US pressing; the cue-sheet is missing.
Razorcuts - Storyteller
(Creation CRELP-026 UK-88 EX 300:-)

The Razorcuts were part of the legendary C-86 scene in the UK and went on to become one of the more influential indie pop groups of the 1980s.

Their first LP, "Storyteller", marries the DIY ethos of punk with those jangly guitars of sunny 60’s pop, making music on par with the best of ‘em.

Original UK pressing with Lyric insert.
Reed, Lou - Live Stockholm 1974
(Not On Label (none) Swe-74 VG+ 300:-)

The career of Lou Reed defied capsule summarization. Like David Bowie (whom Reed directly inspired in many ways), he made over his image many times, mutating from theatrical glam rocker to strung-out junkie to avant-garde noiseman to straight rock & roller to your average guy. Few would deny Reed's immense importance and considerable achievements.

1974's "Sally Can't Dance", was his most commercially successful album to date, reaching the Top Ten. On the following tour, Lou was at the height of his drug problems, but still managed to play over 25 venues, opening in Stockholm, Sweden in May and closing in Dayton, OH in October 1974.

Recorded live at the Concerthouse, Stockholm, Sweden, 14 May 1974.
Reed, Lou - Metal Machine Music
(RCA CPL2-1101 Ger-8? EX 275:-)

This is, without question, the one album in Lou Reed's oeuvre that inspires the most hyperbole in critic's pens, and one of the harshest records ever released by a major record company. Originally a double LP, it consists of four tracks, each hovering around the 16-minute mark, of guitar feedback looped over and over, and then layered innumerable times.

There are no vocals, no beats, and no songs. And yet, despite all this, the album is by no means random noise designed solely to irritate listeners, as many detractors have claimed. There's a definite overall structure to the electronic effects. As the direct forerunner to punk, industrial, ambient, electronic, and even new age music, METAL MACHINE MUSIC is an essential document and one of the most influential albums in non-mainstream music. In its own right, it is a fascinating sonic experiment - though it's almost guaranteed that your pets will hate every second of it.

Scarce 1980's German reissue; 2LP's in a single sleeve on the black/silver RCA label.
Reed, Lou - Transformer
(RCA Victor LSP-4807 UK-7? EX 275:-)

Lou Reed's fantastic second solo LP – melding the aloof, plaintive vocal performance style he perfected with the Velvets and unbelievable sharp songwriting with the vamped up, fuzzed out guitars of Mick Ronson, some symphonic touches, and the guiding spirit of Ziggy Stardust era Bowie. This is a record that could have failed on any number of levels, but it worked perfectly, making Lou an unlikely rock star and setting the bar pretty, pretty high!

1972 UK orange label pressing, matt picture sleeve with Mick Rock artwork.
Rolling Stones - Beggars Banquet
(Decca SKL-4955 UK-68 VG+ 1000:-)

One of the greatest albums ever from The Rolling Stones – a set that still draws on all the bluesy roots of their best 60s material, yet which also shows a sharper, nastier edge as well! The album shows the tremendous sense of focus and power the Stones had in this crucial late 60s stretch – a bold step forward that would give them some of their most memorable moments ever!

Original UK STEREO pressing on the 'unboxed' label, Garrod & Lofthouse front laminated gatefold sleeve with 'Patents Pending' text in the bottom right corner.
Rolling Stones - Beggars Banquet
(Decca SKL-4955 UK-7? VG+ 275:-)

One of the greatest albums ever from The Rolling Stones – a set that still draws on all the bluesy roots of their best 60s material, yet which also shows a sharper, nastier edge as well! The album shows the tremendous sense of focus and power the Stones had in this crucial late 60s stretch – a bold step forward that would give them some of their most memorable moments ever!

Early 70s stereo pressing, on the blue 'boxed' Decca logo label with the 'Speed 33 1/3' above the 'BIEM/NCB', front laminated gatefold picture sleeve manufactured by Robert Stace.
Rolling Stones - Big Hits
(Decca TXS.101 UK-66 VG+ 500:-)

Like its 1969 second volume THROUGH THE PAST DARKLY, this is a fine collection of '60s Stones classics, but it's a rather bluesier one. This is exemplified by such rootsy tracks as the redefined Buddy Holly tune "Not Fade Away" and the R&B bounce of Bobby Womack's "It's All Over Now." Not that the group's original songs were lacking in grit or attitude; the vituperative "Get Off My Cloud," delivered in Mick Jagger's best Sidcup dialect still sounds magnificent, as does Brian Jones's booming Vox pearl guitar on "The Last Time" and Keith Richards's opening chords to the aforementioned "Not Fade Away." This is a disc to be handed down to your children!

Rare 1966 first issue stereo compilation on the green unboxed Decca logo 'ffss' label, front laminated gatefold picture sleeve with integral 8-page colour booklet. Both sleeve and vinyl are graded VG+.
Rolling Stones - Exile on Main St
(Rolling Stones COC-2-2900 US-72 VG+ 375:-)

The Rolling Stones at their rawest, most shambling, sleazy and brilliant – one of the most iconic rock albums ever!

EXILE sharpens the country, blues, and gospel tendencies the Stones began exploring in the late '60s. Here, the band virtually inhabits the spirit of each style, distilling the whole to a ragged, soulful perfection. EXILE's double-album length plays like a weary, boozed-up sermon on the very meaning of rock music. This is the closest the band ever came to religion, and it still has the power to convert.

Scarce first US pressing, with tri-fold picture sleeve, illustrated card inners and a set of twelve perforated postcards.
Rolling Stones - Flowers
(Decca SKL-4888 UK-7? EX 1200:-)

Dismissed as a rip-off of sorts by some critics as it took the patchwork bastardization of British releases for the American audience to extremes, gathering stray tracks from the U.K. versions of AFTERMATH and BETWEEN THE BUTTONS, 1966-1967 singles, and a few outtakes. Judged solely by the music, though, it's rather great.

Rare UK second export-only issue of the 1967 12-track STEREO vinyl LP on the 'boxed' Decca logo label, housed in a front laminated picture sleeve.
Rolling Stones - Get Yer Ya-Ya's Out!
(Decca SKL-5065 UK-70 EX 275:-)

A landmark live set from the Rolling Stones – featuring material from their smoking tour of 1969! The set really captures the Stones at their most nasty – that great turning point when their edge was maybe sharpest of ever – but with even more raw energy from the live setting.

UK black/white label stereo vinyl, pressed for export to Europe [Netherlands, Scandinavia], front laminated picture sleeve.
Rolling Stones - Jump Back
(Virgin V2726 EU-93 EX 500:-)

18-track double compilation LP, containing material from twenty years of the Stones ongoing career, digitally remastered from the original masters using 20 bit technology, glossy picture sleeve complete with illustrated narrative inners.

The sleeve has just a little edgewear whilst the vinyl shows little evidence of play and remains in Excellent condition.
Rolling Stones - Out of Our Heads
(Decca SKL-4733 UK-73 VG+ 375:-)

Early Stones recordings don't get much better than this. Firmly established as celebrities, the band began to use the pandemonium it inspired as an artistic source. Nowhere is the band's initial reaction to fame and music business drama more apparent than in the humorous, mocking "The Under Assistant West Coast Promotion Man," in which the Stones effectively skewer the sleazier side of the record industry.

1973 UK pressing on the 'boxed' Decca logo label, with green tinted front laminated picture sleeve.
Rolling Stones - Rarities 1971-2003
(Virgin 0946-3-47092 EU-05 EX 500:-)

2-LP set comprising a 16-track cornucopia of delights from the last 35 years or so featuring songs that have never surfaced on CD and rare B-Sides as well as hard-to-find mixes and previously unreleased tracks including a live version of Chuck Berry's 'Let It Rock' - at Leeds University in 1971, 'Through The Lonely Nights' - B-Side to 'It's Only Rock & Roll' and many more!
Rolling Stones - Rolled Gold+
(Decca/ABKCO 530328-4 UK-07 EX 375:-)

'Expanded Edition' 40-track 4-LP vinyl set [previously released in 1975] comprising a collection of all their biggest early hits including, 'Brown Sugar', '[I Can't Get No] Satisfaction', 'Honky Tonk Women' and 'Paint It Black' to name but a few plus 'She's A Rainbow' [which also features on the 2007 Sony Bravia ad], presented in a deluxe gatefold picture sleeve.
Rolling Stones - Rolling Stones
(Decca LK-4605 UK-7? EX 500:-)

The first full-length Rolling Stones album is a raw document of their early sound, which at this point was still Early British Tinny. However, the band's growing confidence throughout the course of THE ROLLING STONES is almost palpable, though it's obvious that at this early stage the band was most comfortable performing R&B covers.

Mid 70s UK MONO pressing with 'boxed' Decca logo, front laminated picture sleeve.
Rolling Stones - Sticky Fingers
(Rolling Stones COC-59.100 Fra-73 VG+ 275:-)

Landmark work from The Rolling Stones – and a set that may well stand alongside EXILE ON MAIN ST for capturing the group at their height! The record's got the Stones very much in their own space – years from just putting a UK spin on American blues – and instead, finding a way to take all their best influences, and fuse them into a nasty, gritty sound that's complete genius all the way through!

1973 French 3rd pressing with SACEM boxed logo. Price code is Ⓨ instead of Ⓑ for the first press. On back cover "distribution WEA..." on botton back cover and Warner Logo.
Rolling Stones - Stripped
(Virgin V2801 EU-95 EX 1000:-)

As the longest continuously surviving band in rock and roll, The Rolling Stones have become a symbol of staying power, and STRIPPED proves why. Its lean, live, acoustic format draws from their Voodoo Lounge tour, which mixed the band's early material with some judiciously picked covers and a handful of country-blues classics, giving the band more punch as a live act that it's had in the studio in years.

Original UK pressing; both sleeve and vinyl are graded EX.
Roxy Music - Why do You think I'm a Funky Chick?
(Stoned STD-1 Swe-77 VG+ 375:-)

Recorded live at the Concerthouse, Stockholm, 27 January 1976, this double album captures Roxy at their glorious, last totally great peak: the SIREN tour! It's the full concert too, which means that on top of songs from the first five Roxy Music albums, we're treated to solo album delicacies by Phil Manzanera, Andy Mackay, and of course Bryan Ferry.

Stoned Records was released in very limited editions back in 1977/1978. First edition - 500 copies of each album and the second edition - 500 copies of each album. Which means ONLY 1.000 copies of each album was released in total before the manufacturer got busted.
Rush - 2112
(Mercury RJ-7098 Jap-76 EX 800:-)

Over the course of their decades-spanning career, Canadian power trio Rush emerged as one of hard rock's most highly regarded bands; although typically brushed aside by critics and rarely the recipients of mainstream pop radio airplay, Rush nonetheless won an impressive and devoted fan following, while their virtuoso performance skills solidified their standing as musicians' musicians.

2112 is archetypal high-concept heavy/art-rock, featuring an interconnected suite of songs and a futuristic science fiction-inspired lyrical theme (courtesy of drummer/sole lyricist Neil Peart). When it came to '70s sci fi rock epics these guys were capable of giving Hawkwind and Jefferson Starship a run for their money.

Japanese white label PROMO vinyl.
Rush - A Farewell to Kings
(Epic ‎25·3P-268 Jap-81 EX 375:-)

Taking a cue from other art-rock groups like Yes and Genesis, Rush expressed a penchant for fantasy and science fiction themes on A FAREWELL TO KINGS. Coupling the increasingly intricate arrangements of Geddy Lee and Alex Lifeson with the creative lyrics of Neil Peart, the power trio format is stretched beyond recognition on epic tracks like the sensational "Xanadu," a masterful re-telling of Kubla Kahn's "Pleasure Dome" along the river Alph.

Japanese 2nd pressing; both sleeve and vinyl are graded EX.
Rush - Hemispheres
(Anthem SANR-1-1015 Can-78 VG+ 275:-)

HEMISPHERES marks Rush's transition from heavy riff-mongers to full blown art-rockers. Lee, Lifeson and Peart employ a number of tricks from the prog-rock bag here; (very) extended songs, multi-part suites, long instrumental passages, rapidly shifting tempos and time signatures, complicated unison riffs and synthesizer orchestrations. It's to Rush's credit that these elements enhance their sound instead of obscuring it.

Canadian limited edition pressed on RED vinyl. The sleeve shows a little light shelfwear and scuffing; the vinyl remains in Excellent condition. Originally issued with a poster insert, which is missing.
Rydell, Bobby - We got Love
(Cameo C-1006 US-6? NM 300:-)

Robert Lewis Ridarelli was born in Philadelphia. He won first prize on "Paul Whiteman's TV Teen Club" at age 8, and was a regular on that show for three years. After changing his last name to Rydell, Bobby played drums in Rocco and the Saints, a group that also featured Frankie Avalon on trumpet. Rydell signed with CAMEO-PARKWAY in early 1959, and eventually became that company's second most popular artist, behind Chubby Checker.

"We got Love" was Rydell's first release on Cameo; it contains his first big hit, "Kissin' Time".

Second US pressing; both sleeve and vinyl are graded NM.
Ryder, Mitch - Sock It to Me!
(Stateside SSL‎–10204 UK-67 EX 400:-)

Blue-eyed soul from the legendary Mitch Ryder – and pretty darn gritty at that – steeped in styles borrowed from Memphis and Muscle Shoals, and given a bit of a color-blind twist on the Detroit scene of the late 60s! Mitch clearly loves the motor city sound of the 60s, but also takes things to farther points south, too – using elements that would be right at home on Stax or Atlantic Records!

Original UK pressing; both sleeve and vinyl are graded EX.