Rock

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Greta Van Fleet - Palace for the People

Il nuovo album dei Greta Van Fleet, "Palace for the People", disponibile in formato esclusivo Vinile "Oracle Variant" (prima stampa in edizione limitata, con finitura marmorizzata quarzo fumé), in CD e in formato vinile INDIE.

In uscita il 9 ottobre
CD a 22.50€
LP a 73.90€

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Johnny Marr - The Age Of Everything

In uscita il 2 ottobre
CD a 22.50€
LP a 37.90€

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VARIOUS ARTISTS NO STATIC AT ALL (A JOURNEY INTO AOR 1976-1986)

In uscita il 2 ottobre a 39.90€ - 3CD

DEEP DIVE INTO THE FM RADIO-FRIENDLY SOUND OF ALBUM ORIENTATED ROCK.
• FEATURING BOSTON, CHICAGO, FOREIGNER, RAINBOW, PAT BENATAR, JOURNEY, REO SPEEDWAGON, ASIA, KANSAS, FM, YES, LITTLE RIVER BAND, NIGHT RANGER and many more.
• MILLION-SELLERS, DEEP ALBUM CUTS, COLLECTABLE NUGGETS AND LONG-OVERLOOKED GEMS!
• COMPLETE WITH INSIGHTFUL SLEEVENOTES AND BAND-BY-BAND BIOGRAPHIES.
During the second half of the 1970s, before music streaming and playlists, there was the FM dial. Enabled by crystal-clear signals and an increasingly affluent audience, radio programmers created their own universe by digging deeper than three-minute singles. Overflowing with precise musicianship, carefully crafted, melody-infused songs of love and heartache and increasingly sophisticated, digitally-assisted recordings, an idea that came to be known as "Album Orientated Rock" began to emerge.
Not a scene or a movement, this was a mindset. A lifestyle choice, even. Soaring choruses, multilayered vocals, rich synthesiser pads, gated reverb and soaring guitar solos combined to produce the perfect soundtrack for the increasingly aspirational times as the decade of gritty heavy rock and smoky prog mutated into something shinier, more controlled and inescapably more commercially-minded. 'No Static At All' takes a deep dive into that world, as absorbed through car stereos and on polished chrome hi-fi systems by young and old alike.
Curated from a North American perspective, this is the sound of late nights, of freeways and arenas and of the change in economic outlook that characterised that place and time across the States and Western Europe. Many of these songs became big hits. Others were overlooked gems limited to collectors and late-night FM listeners. All of them endure today. From power ballads to the new hard pop-rock sound, 'No Static At All' is a must-hear for fans, collectors and anybody with a road trip into the sunset planned.
60 tracks. 10 years. One soundtrack.

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Iain Matthews: Keep On Sailing (The Elektra Years 1972-1974)

5CD Box Set in uscita il 4 dicembre a 56.90€
5CD box set retrospective from singer/songwriter Iain Matthews, completing the series of releases covering his 1970s back catalogue. Featuring expanded 2026 versions of his two albums made for Elektra Records, 1973's 'Valley Hi' and 1974's 'Some Days You Eat The Bear...And Some Days The Bear Eats You' including rare and unreleased alternative versions, plus radio sessions and live recordings from the era. Still making albums and playing live to this day, Iain Matthews' career spans some 60 years and can rightly be described as legendary. An original member of the folk rock band Fairport Convention from 1967 to 1969, he left to form his own band Matthews Southern Comfort, topping the UK charts in 1970 with a cover of Joni Mitchell's 'Woodstock'. As well as recording solo albums for the Vertigo, Elektra, Columbia and Rockburgh labels in the 1970s, he was also a founder member of Plainsong* alongside guitarist and singer Andy Roberts. This early 70s focussed set includes previously unreleased alternate takes of 'Seven Bridges Road' and 'Old Man At The Mill', plus a rare 1974 concert appearance with his band Another Fine Mess during his US East Coast tour that summer, recorded at Ultrasonic Studios in New York and broadcast at the time by the Long Island FM radio station, WLIR. Also included are two newly-compiled albums of mostly unreleased live performances from Iain's archives: 'Elektra Years Live 1973-2023' and 'With A Little Help From My Friends', along with four songs that were never released on any of his studio albums: 'Streets Of Baltimore', 'Ann Eliza Jane', 'Feel A Whole Lot Better' and 'Train Leaves Here This Morning'. *Based around their 1972 debut album 'In Search Of Amelia Earhart', Plainsong's 6CD box set 'Following Amelia:The 1972 Recordings & More' can also be found on Lemon.

p.s. La Cherry Red è la "mia etichetta", fa quasi sempre ristampe dei miei artisti preferiti dell'epoca.

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Various Artists: Gettin' Ready, The Eel Pie Island Story 1962-1969

3CD Box Set - In uscita il 4 dicembre a 39.90€
From rock 'n' roll and raw R&B to soul, psychedelia and progressive rock, the Eel Pie Island hotel venue heard British music evolving in real time. A tiny island on the Thames became a proving ground for emerging groups, American blues legends and future stars. Across 80 tracks, this set traces how British rock and pop absorbed, transformed and moved beyond its American influences. At the beginning of the 1960s, British rock 'n' roll was already giving way to something tougher. Tony Holland & The Packabeats, Mike Berry with The Outlaws, Cliff Bennett and Screaming Lord Sutch still belonged to the Joe Meek era, but by 1963 the Yardbirds, Cyril Davies, Downliners Sect, Long John Baldry and John Mayall were bringing Chicago blues and R&B into the clubs. As the decade progressed, that sound widened. Graham Bond and Brian Auger introduced jazz and the Hammond organ, while Jimmy James & The Vagabonds, Herbie Goins, The Mike Cotton Sound and The Alan Bown Set reflected the growing influence of American soul.
Cream's 'Cat's Squirrel' then showed blues turning heavier, as freakbeat and psychedelia began to dissolve the old boundaries.
By 1967 and 1968, the musical landscape had changed again. The Foundations brought soul into mainstream British pop; Savoy Brown, Chicken Shack and Ten Years After pushed blues towards heavier rock; Fairport Convention pointed towards folk rock; and Blossom Toes, Arthur Brown, July and Jade Hexagram entered the psychedelic underground, while The Nice and Colosseum carried jazz, classical ideas and blues into the emerging progressive era.
Eel Pie Island did not create every one of these changes, but it became one of the places where they could be heard as they happened. These eighty tracks form a history of a remarkable venue and a compact history of British rock and pop discovering what it could become.

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John Renbourn: Kokomo Blues Gone Electric 1970-1979

3CD Digipak
Ormai lo sapranno quasi tutti i miei clienti, lui con i suoi quattro colleghi dei Pentangle sono sul mio personale podio.
In uscita il 4 dicembre a 39.90€

3CD collection featuring legendary Pentangle guitarist John Renbourn. Following chronologically from the 6CD Cherry Tree box 'Unpentangled - The Sixties Albums', featuring a more selective and themed approach to the 1970–1979 period. Compiled by Pentangle expert Colin Harper, it focuses on Renbourn's lead guitar playing (as opposed to pure fingerstyle) and also leans heavily towards original material. The Pentangle instrumental 'Jack Orion' that begins this set establishes the thrilling uniqueness of John's electric lead guitar style and is probably his best recording with the group in this area. A rare fuzz guitar alternate take of his self-written 'John's Song' from 1971 and a previously unreleased live version of Charles Mingus' 'The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers' from 1972 are the only other Pentangle tracks.
The Renbourn solo albums 'Faro Annie' (1972) and 'Just Like Me' aka 'Lost Sessions' (recorded 1972) continue this electric adventure, after which the electric guitar became a more occasional aspect of Renbourn's recordings, generally absent from his work after the 1970s. This set also includes the rare and beautiful KPM Music Library instrumental album 'The Guitar Of John Renbourn' (1977), three tracks from the John James album 'Head In The Clouds' (1975) that feature Renbourn and another 18 previously unreleased live tracks. Highlights of these include six tracks with Pentangle vocalist Jacqui McShee live at Stalybridge in 1975, and another four recorded live in France with McShee and American fiddler Sue Draheim that year. The instrumental 'The Pelican', from Renbourn's 1979 album 'The Black Balloon', is included as a showcase for the way Renbourn blends masterful acoustic technique with subtle electric guitar overdubs. The set ends with seven tracks from a fantastic concert by Renbourn at The Cellar Door in Washington, DC in 1979.

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